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Park Bok Nam The Fundamentals of Pa Kua Chang Volume 2 PDF
Park Bok Nam The Fundamentals of Pa Kua Chang Volume 2 PDF
The Fundamentals of Pa Kua Chang
Volume II
The Method of Lu Shui-Tien
as Taught by Park Bok Nam
Volume II
The Method o f L u Shui-Tien
by Park Bok Nam and Dan Miller
High View Publications, Pacific Grove, CA
Table of Contents
Acknowledgments vi
Dedication vii
Preface viii
A Note on Romanization of Chinese xi
Chapter 1 ‐ Introduction 1
Introduction 2
Getting the Most Out of This Book 3
Chapter 2 ‐ Pa Kua Chang Fighting Strategy 7
Philosophical Connection to Pa Kua Chang Martial Application 8
Philosophical Connection to Pa Kua Chang Training 9
The Evolution of Pa Kua Strategy 10
The Birth of Pa Kua Strategy 10
Pa Kua Adaptability 11
Adapting to Fit the Situation 12
The Individual Expression of the Art 12
Principle Vs. Technique 13
Strategies of Pa Kua Chang Fighting 15
Distance and Degree 15
Know Your Distance 15
Rooting as a Function of Angle 18
Angle Vs. Strength 18
Allow No Time or Space 18
Jab, Bridge, Finish 19
Lien Huan (Continuously Linked) 20
Sequence of Training 21
Chapter 3 ‐ Pa Kua Chang Footwork Training 23
Why Walk the Circle? 24
Physical Benefits 24
Table of Contents
Internal Cultivation 27
Circle Walking as a Meditative Practice 27
Circle Walking for Chʹi Cultivation 29
Fighting Skills 31
Circle Walking Variations 31
The Foot Placement 31
Snake Step 31
Lion Step 34
Crane Step
Conclusion 35
Advanced Circle Walking: Training to Fight 36
The Opponent Attacks First 37
You Initiate the Attack 37
Advanced Circle Walking 38
Pivot Stepping and the Pa Kua Diagram 86
Circle Walking 87
Tʹai Chi Diagram Circle Walk Pole Training 39
Spiral Pattern Pole Training 42
Two or Three Pole Practice 45
Adding More Poles 48
The Tee‐Pee Pole Arrangement 49
Changing the Poles 49
Conclusion 50
Chapter 4 ‐ Pa Kua Chang Body Training 51
Hiding Flower Under Leaf Exercises 55
The ʺMovingʺ Hiding Flower Exercise 57
The Single Palm Change 61
The Four Pillars of Pa Kua Training 61
The Study of Pa Kua Chang Movement 63
The Definition of Single Palm Change 65
The ʺFormʺ of Single Palm Change 66
The Movements of the ʺStandardʺ Single Palm Change 67
The Principles 69
Variations 71
Kʹou Pu and Pai Pu in Application 81
Kʹou Pu Usage 81
Kʹou Pu and Pai Pu Kicks 85
The Single Palm Change: Conclusion 86
Table of Contents
Chapter 5 ‐ Pa Kua Chang Palm Training 87
The Eight ʺForty Eight Monthʺ Palms 90
Single and Double Palm Change 92
Throwing Palm 94
Slapping Palm 96
Lifting Palm 105
Chopping Palm 109
White Clouds Chasing the Stars Palm 118
Sliding the Window Shutter to Look at the Moon Palm 124
Follow‐on 48 Month Palm Training 127
The Supplemental Palms 133
Piercing Palm 133
Swallow Penetrates Through the Forest Palm 137
Three Basins Settling to the Ground Palm 142
Embracing the Moon at the Chest Palm 146
Conclusion 148
Chapter 6 ‐ Pa Kua Chang Elbow Training 149
The Basic Elbow Exercises 151
The Eight Elbow Combination Drills 157
Conclusion 167
Chapter 7 ‐ Pa Kua Chang Chʹi Kung 169
Introduction 170
The Mind in Chʹi Kung Practice 174
Body Motion in Chʹi Kung Practice 181
Breathing in Chʹi Kung Practice 185
The ʺStandard Eightʺ Chʹi Kung Set 187
Sliding the Window Shutter to Look at the Moon 188
Double Palm Change 190
Unicorn Turns its Body 192
Serving Tea Cups 194
Serving Tea Cups with Throwing Palm 197
Yin and Yang Opposing Palms 201
Scooping the Moon From Sea Bottom 204
Closing 204
Conclusion 207
Chapter 8 ‐ Conclusion 209
Acknowledgments
I would like to thank a number of individuals who have made this book possible.
First and foremost, I would like to thank Park Bok Nam for his teaching and
guidance and his patience in dealing with my questions and endless picture
taking. Thanks is also due to my senior classmate. Glen Moore, who proofread
the material, gave valuable suggestions, and answered many of my questions. I
would also like to thank Jimmy Koo for helping with some of the computer work
and Chris Stevens for his proofreading job. Very special thanks to Mariann Draga
for her patience, love, and support, and for answering the phones and doing
most of the office work during the months I was engrossed in this project. Thanks
is also due to all of my students, each one has taught me something new about
teaching Pa Kua Chang.
There are three other individuals 1 would like to thank, not so much for their
work on this particular project, but for the invaluable lessons they have taught
me about martial arts in general. Although all of the material here is from Park
Bok Namʹs system of Pa Kua Chang and the ideas and principles expressed here
are all taught by Park, my ability to put these concepts into words comes from a
culmination of my martial arts background and experience. During my martial
arts career, there have been three individuals, other than Glen Moore and Park
Bok Nam, who have helped to greatly improve my understanding of the internal
martial arts and my ability to explain the principles of the martial arts as I
understand them. These individuals, Vince Black, Tim Cartmell, and Ken Fish,
are all brilliant teachers and I am forever in their debt for the lessons they have
taught me. Thanks guys.
vi
Dedication
Dedicated in Memory of
Pa Kua Chang Master
Lu Shui‐Tʹien
(1894 ‐ 1978)
vii
Preface
It has been three years since I sat down to There were no beginners in the class, everyone
write the preface to the first volume of this book. was male, and everyone was in about the same age
In that three years 1 have learned a lot. 1 have group. Park did not teach beginning level material
learned a lot about Pa Kua Chang and 1 have there. Because everyone there was just gaining a
learned a lot about Park Bok Namʹs system of Pa foundation in Parkʹs system, all were taught the
Kua Chang. Since writing the first volume of this same basic material.
book I have made four trips to mainland China, When I moved to California in late 1992, Park
two trips to Taiwan, and one trip to Hong Kong asked me to start a class here. I started teaching a
researching the art of Pa Kua Chang as it is taught few guys in a local school yard every evening.
by various instructors in China. Shortly after There were only a few people in the class and they
writing the last book, my status in Park Bok Namʹs all had a martial arts background. Basically 1 used
school also changed from that of being a student the time to do my own workout and these guys
to that of being an assistant instructor and then, followed along. I did not have to do a lot of
most recently, a licensed instructor. In making teaching because they picked it up pretty fast. The
these transitions, my Pa Kua Chang training under way I taught was the way I had been shown. I
Park Bok Nam changed. It was only after I started started by teaching the material that was presented
actually teaching Parkʹs Pa Kua system as an in the first book. The students learned the eight
assistant instructor that I really began to direction rooted stepping, the circle walk, the fan
appreciate the depth of his art, his teaching style, Chang exercises, the palm exercises, etc. Park came
and his systematic approach to helping his out to California about four times that first year
students reach their full potential in the art. and watched what we were practicing, made
Park teaches all students by ʺprescription.ʺ corrections, and taught some new things.
This means that each student is given exactly what In late 1993, the local kung fu teacher decided
he or she needs based on age, sex, physical health, he would move out of town the next Spring and he
ability, coordination, occupation, size, personality, asked if I would be interested in taking over his
and goals. When I first began studying with Park, school when he left in April of 1994. The school
1 had about seven years experience in the internal was located right across the hall from my
martial arts, I was relatively young and in fairly publishing office and we had used the school on
good shape, and so he began teaching me his Pa numerous occasions to host seminars conducted
Kua Chang pretty much as it was presented in the by Park and other visiting instructors. I thought it
last volume of this book. For the first six or eight would be a good opportunity since the old teacher
months of training, all of my lessons were private already had a group of students who wanted to
and so I did not get a chance to see how any of the continue training. 1 called Park and asked if he
other students were training. I figured that they would give me permission to open up a school. He
were being taught about the same thing 1 was told me that I could open up a school and teach for
being taught. him as an assistant instructor. He said that 1 did
Later, Park started teaching a group class in not have enough experience teaching to be an full
Baltimore, Maryland, and I attended those classes. instructor on my own. That was fine with me. 1
The prerequisite for the class was that the students figured my small group would just carry on as we
have a martial arts background. What Park taught had been in the school yard, except for now we
there was pretty much the way I had been taught. would have a place to practice indoors.
viii
i x
of the ʺclassicalʺ Pa Kua Chang sequences are Personally, 1 would be very happy if the only
taught. Parkʹs idea is that if the student has not things you got out of reading this book is an
developed basic strengths and basic skills, they appreciation for the depth of Pa Kua Chang and a
will not fully understand Pa Kua Chang. So his desire to take what is presented here and explore it
method develops students in progressive stages on your own terms. Take what we have presented
just as the masters of old. in these two volumes and see how many different
In learning more about Parkʹs Pa Kua and how ways you can combine them in practice. Once you
to teach his Pa Kua, Iʹve gained a great have built a foundation, donʹt be afraid to
appreciation for the depth of this system and its experiment and try new things. If you already
adaptability to not only suit different practitioners, practice another style of Pa Kua, see how these
but also various opponentʹs and combat ideas, movements, and concepts fit into your
environments. In reading this book you will system. Explore the combinations and find out if
probably get sick of me emphasizing the point they work in the two person practice environment.
about how adaptable and variable Pa Kua Chang If something works for you in a very efficient and
is to situation and individual practitioner. 1 effective manner, then keep it, its yours. If it
emphasize this point in every chapter of this book doesnʹt work, go back to the drawing board and
because after answering literally hundreds of try to find out why. Was the distancing off? Was
phone calls and letters about Pa Kua Chang in my the timing wrong? Could the angle have been
capacity as the editor and publisher of the Pa Kua better? Everyone has different strengths and
Chang Journal, the one point most people who are weaknesses and what works well for one may not
interested in studying Pa Kua donʹt get is that it work well for all. Pa Kua Chang study is about
can change from person to person and situation to finding out what works best for you in any given
situation. Iʹve had dozens of people ask me, ʺWhy situation. If it is natural, fluid, smooth, efficient,
are there so many different Pa Kua Chang styles if and effective, then it is Pa Kua Chang.
Pa Kua is only one hundred a fifty years old?ʺ It is Enough of the component parts and principles
because every person should learn to do Pa Kua of Lu Shui Tʹienʹs Pa Kua Chang system have been
Chang differently in order to make it their own. presented in the two volumes of this book for the
As Park always says, ʺPa Kua means changing.ʺ beginner to be able to learn to develop useful
On many occasions, 1 have seen Park get internal body mechanics and applications. It is up
frustrated with the same kind of questioning. to you to do the work. If you are an experienced
People at demonstrations and seminars will ask, practitioner of Pa Kua, 1 hope that some of the
ʺIf somebody grabbed you like this, what would exercises, ideas, and concepts presented here help
you do?ʺ They do not understand that there is no you in the study of your own style. If you are new
ʺanswerʺ to that question. The response to the to this art, 1 hope that what we have written here
grab would be a very spontaneous reaction and will provide you with a foundation for future
would be a result of exactly how the opponent study. Have fun in your practice and research.
executed the grab in terms of the direction of the
force, the magnitude of the force, the energy of the
motion, the angle and movement of the
opponentʹs body position, the opponentʹs size and Dan Miller
ability level, the surrounding environment, the Fall 1995
timing and rhythm of the motion, etc. Out of 20 Carmel, CA
different grabs which appeared to be ʺthe sameʺ to
an untrained observer. Park might execute a
different response to each. The response is ʺin the
moment,ʺ not a pre‐calculated ʺtechnique.ʺ Instead
of trying to explain all of these things. Parkʹs
typical response to an over zealous ʺwhat would
you do ifʺ question is, ʺJust die. Thatʹs all.ʺ
x
A Note on the Romanization of Chinese
The question of romanization of Chinese terms is always a difficult one.
There is really no great romanization system for Chinese. Both of the commonly
used systems, Wade‐Giles and Pinyin have their shortcomings. We have chosen to
express the Chinese terms in this volume in the Wade‐Giles system of
romanization simply because we used this system in the previous volume. We
chose to use Wade‐Giles in the first book because it had been the standard in the
United States for years and we felt the terms were more familiar to the reader in
that system. Now the Pinyin system seems to be more prevalent, however, for
consistency we will stay with Wade‐Giles. In order to help with the Chinese terms,
we have included the Chinese characters for the terms in parenthesis after the first
appearance of those terms.
As a simple guide to pronunciation in the Wade‐Giles system, please refer to
the chart below:
t, without apostrophe, as in Tao: is pronounced like d
p, without apostrophe, as in Pa Kua: is pronounced like b
k, without apostrophe, as in Pa Kua: is pronounced like g
j, without apostrophe, as in jen mai: is pronounced like r
ch, without apostrophe, as in Tai Chi: is pronounced like j
x i
xii
Chapter 1
Introduction
1
Chapter 1
Introduction
Welcome to the second volume of the experience in the practice of the "fundamentals"
Fundamentals of Pa Kua Chang! If you quickly that he or she can then begin to discover Pa Kua
skim through the contents of this book, you will Chang on their own terms.
see that the chapter headings are pretty much the Park does not want the student to always
same as those in the first volume. Hopefully you follow his ideas, he wants the student to make Pa
have taken the time to study and practice the Kua Chang their own. He wants students to have
material in the first volume in order to gain a their own ideas, come up with their own forms,
foundation for the material which is presented have their own specialties, and create their own
here in the second volume. individual expression of this art. His job is to give
In volume one, we introduced the reader to the students the fundamental tools, which includes the
background of both Park Bok Nam and his physical fundamentals as well as the theoretical
teacher, Lu Shui-T'ien, we discussed some of the principles, and then make sure that each student's
basic theories of Park's system of training, and individual expression of this art conforms to the
we presented some rudimentary footwork, body overall principles. He does not try to insure that
training, palm striking, and ch'i kung exercises. each student learns the exact same set of standard
This volume continues from where the last book exercises and forms and performs them identically
left off in terms of the training progression, but to everyone else in the school. That method of
more importantly, this book will give you teaching is not Pa Kua Chang.
enough of the training methods, and ideas about Park's method is to first develop the student's
how they might be combined in practice and in body in terms of flexibility, coordination, balance,
application, to enable you to begin to develop and stability. Because every student starts from a
your own ideas about Pa Kua Chang training different place in terms of these components, each
exercises, form routines, and martial applications. individual has a slightly different training program.
As we discussed in the previous volume, Lu Along with that training, the student also practices
Shui-T'ien's system of Pa Kua Chang, is a very methods which teach the proper mechanics of
systematic, progressive method of training efficient physical motion for the development of
which develops each individual student in a subtle power, and begins to develop an
gradual, balanced, and complete manner. internal-external harmony by uniting the mind,
However, the goal of this progressive method is body, and breath through the practice of ch'i kung
not to keep the student training exercise after and meditation.
exercise, form after form, year after year. Park's Once the student has made progress along
goal in developing a student is for the student to these lines, he or she will then be taught the
gain enough physical, theoretical, and practical rudiments of Pa Kua Chang as we presented them
2
Introduction
in the first book. The students learn a little bit about walking and linear combat form and application
how to remain stable and balanced when employing which is taught at the intermediate level consists of
various combat footwork methods, they learn how to combinations of all of these exercises. If the students
begin to develop internal striking power, and they have practiced all of these components thousands of
practice exercises which continue to develop their times as repetitive exercises, it becomes very easy for
bodies in terms of flexibility, balance, and them to learn dozens of different form routines and
internal-external harmony. This is what we presented applications based on these movements. More
in the first volume. importantly, the students are also taught how to think
Once the student has formed a foundation in all about the combinations of the fundamental
of the areas listed above, they will start expanding their components such that they can begin to create their
knowledge in each of those areas. They will learn own forms, applications, and variations.
more about internal striking power by practicing the In Chapter 4 of this volume we present at least a
"forty eight month" palms and the "supplemental" dozen different variations of Pa Kua Chang's single
palm exercises which are presented in Chapter 5 of palm change. All of these changes are based on
this volume. They will learn how to use their elbows exercises which were presented in the first volume of
in both blocking and striking by practicing the elbow this book. Add to this the double palm executions
exercises which are presented in Chapter 6 of this from the palm training chapter, the sixty-four possible
volume. They learn how to begin to integrate some of changes which come out of the eight animal training,
the body training methods into the circle walk practice the various circle walking components which are
by executing a number of variations of the single palm presented in Chapter 2 of this volume, and the elbow
change as presented in Chapter 3 of this volume. They strikes which are presented in Chapter 6 of this
will also learn more about footwork by practicing volume, and you have an almost unlimited number of
advanced methods of k'ou pu, pai pu, and walking the Pa Kua Chang forms, changes, variations, and
circle as presented in Chapter 2 of this volume. applications that you can create by yourself.
Once the student learns all of these fundamentals, In writing this book, we want to present you with
he or she is now ready to start learning an integrated enough material and ideas about how all of the
Pa Kua Chang. Up until this point in the training components in both books can be integrated together
program, the exercises and drills have only been so that you can begin to understand how to create your
components of Pa Kua Chang. The continuously own Pa Kua Chang training routines and applications.
flowing, twisting, turning, circling forms and If you only study a choreographed form routine, that is
applications which are characteristic of Pa Kua Chang all you have. If you study component parts in a
have not really been prominent thus far in the training. systematic method and then learn how those
This is because, in Park's system, the student was not components can be blended in a variety of ways, then
ready for this training if he or she had not thoroughly you have something with endless possibilities. You
practiced all of the fundamentals. So the beginning have something that can be adaptable in any situation
levels of practice in Park's school consists only of and in any environment. You have something that is
fundamentals, or prerequisites to an integrated Pa Kua yours.
Chang.
At the intermediate level, Park's Pa Kua Chang is Getting the Most Out of This Book
made up of several basic component's as follows: Obviously, you are free to study any or all parts
circle walking, k'ou pu and pai pu footwork, eight of this book as you like. However, we have some
direction rooted stepping, single palm change, double recommendations for how the exercises and drills in
palm change, eight animal postures and their this book might best be studied in order for you to
associated changes, forty eight month palms, get the most out of this training process. Not all
supplemental palms, basic kicks, ch'i kung training, students in Park's school will train in this exact
and the elbow blocks and strikes. Every circle sequence because Park teaches each student by
3
The Fundamentals of Pa Kua Chang, Volume II
prescription. However, this is a general sequence that fluidity, and precision; then practicing those
you can follow for your own training purposes. The movements with power; then practicing with both
recommendations are as follows: speed and power; and then integrating those
movements will all of the eight direction rooted
1) First, we recommend that you have practiced all of stepping techniques.
the material presented in the first volume and have a
good experiential knowledge of that material. If you 4) Now begin to practice the eight animals circle
have not practiced the shaking palm, dragon back, and walking form (as presented in the first volume)
single and double palm change striking exercises utilizing the outside single palm change (variation
sufficiently, you will not be able to get the most out of #6 in Chapter 4) to change directions. You can
the palm and elbow exercises presented in this book. also begin to practice combinations of the forty
If you have not practiced the circle walking with the eight month palms and supplemental palm
basic change of directions, the k'ou pu and pai pu maneuvers. Experiment and see which ones flow
exercises, and the eight animal circle walking form as smoothly and fluidly to the next. Create various
combinations that feel comfortable to you and
presented in the last volume, the circle walking
practice them statically at first, and then combine
practice presented in this book will not be natural and
them with the eight direction rooted stepping
fluid. If you have not practiced the "body training"
footwork. A glimpse of Park executing some of
exercises which were presented in the last volume, the
these combinations is shown on the companion
single palm change variations which are presented in
video.
this book will be awkward for you.
So, number one, practice the material in volume 5) After you have gained some experience with
one as a prerequisite to anything in this volume. the material as outlined above, begin to
incorporated the eight animal postures into the
2) Begin the study of this book with the T'ai Chi T'ai Chi diagram circle walking. You can also
diagram circle walking as explained in Chapter 3 and begin to practice adding the forty eight month
the "standard eight" ch'i kung set presented in Chapter palm and supplemental palm maneuvers into the
7. It is best to practice the ch'i kung set for a few single palm change variations. Some hints about
months before you try to practice the "forty eight how to do this are given in Chapter 4. However,
month" palms. You should also practice the two you can experiment and see which combinations
"hiding flower under leaf" exercises that are shown in work best for you. When experimenting, always
Chapter 4. These exercises will help to loosen your keep in mind the lien huan ( - continuously
body and prepare you for the next level of training. linked) principle which is explained in Chapter 2.
Now that you have practiced the eight animal
3) Next, begin to practice the single palm change form executing the simple directional change
variations as they are outlined in Chapter 4. These are presented in the previous volume, the outside
all built from exercises you practiced in the first change as presented in Chapter 4 of this volume,
volume. Practice each one until it can be executed and in the practice of the T'ai Chi diagram circle
fluidly and smoothly with no breaks or hesitations in walk as presented in Chapter 3 of this volume, you
the movements. You can also start to practice the forty should now try and vary the order of the animal
eight month palms (Chapter 5) and elbow sets changes to learn how each animal can flow
(Chapter 6) after you feel you have gained an smoothly to the others. Thus far you have practiced
increased level of flexibility and suppleness through this form changing from lion, to unicorn, to
the practice of the standard snake, to swallow, to dragon flying, to bear, to
eight ch 'i kung set. Keep in mind that this practice phoenix, to monkey. Now experiment and see
includes a sequential study beginning with slow how you can fluidly and smoothly change from
movements, then increasing the speed of those lion to snake, from lion to swallow, from lion to
movements while maintaining smoothness, dragon flying, etc. Experiment with all 64 possible
4
Introduction
combinations of changes and see how you can these things might be combined in a continuous
smoothly and fluidly execute these changes on and smooth manner, research the combinations
the circle and then on the T'ai Chi diagram with a partner, and then try them in a free
walking pattern. sparring situation.
7) Next, begin to practice the basic two and Throughout this book, we will emphasize
three pole circle walking patterns, including the variation and change. Park says, "Pa Kua means
spirals, the small circles, and the figure eights. changing." It means changing in accordance with
You can also begin to experiment with the situation, changing in accordance with the
incorporating the eight animal changes in with environment, changing in accordance with the
the single palm change variations and the opponent, changing in accordance with your
various palms and elbows. Some hints on the individual character. Pa Kua Chang is about
incorporation of the animals into the single palm being naturally efficient, in accordance with your
change variations are given in Chapter 4 of this own individual nature, in any given situation.
volume. In order to be able to learn how to adapt to any
situation, you have to learn how to create from
8) Next, try to incorporate the animal what you've been taught. Looking through the list
changes and the palms, elbows, and kicks into of recommendations above, you may have
the one, two, and three pole footwork patterns. questioned, "How do I link all of the animal
Sometimes you can avoid the poles in the forms together to create 64 changes?" or "How
execution of evasive maneuvers, and sometimes do I incorporate the forty eight month palms into
you can strike the poles with one of the palms, the single palm change variations?" That is for
elbows, or kicks. you to find out. Practice the fundamentals until
they become natural to you and then explore the
9) While transitioning through the steps combinations and variations. If you have
listed above, try to find which component of Pa practiced the fundamentals sufficiently, you will
Kua Chang feels most natural and comfortable be surprised at what combinations start to
to you. It might be the footwork, it might be the naturally arise. Pa Kua Chang is for you to
palm executions, it might be the elbow strikes, if research and discover.
might be the kicks, the locks, the throws, etc. Park calls researching combinations and
Once you have found your "niche," practice exploring variations "doing your homework." He
those drills with a greater intensity and more does not give these answers to his students. He
thought than the others. Park calls this requires all of his students to do a lot of
"developing a specialty."In executing all of the homework. They have to do the research and
exercises, forms, and drills outlined above, then show him what they discovered. If the
always think about how these things might be changes and applications they created do not
efficiently applied in combat. From all of the conform to the Pa Kua Chang principles, Park
combinations of exercises and movements listed will lend suggestions and then tell the student to
above, you can create an endless number of go back and re-do his "homework." His favorite
effective applications. Chapter 2 of this book line is, "I think you need to think about it some
will give you some ideas about the theory and more."
strategy of Pa Kua Chang application. Research By going through the process of researching
the utility of each of the motions you have the components of the art and how they are put
created. Think in terms of the "jab, bridge, together, the student learns about creating,
finish" sequence which is explained in Chapter 2. adaptability, changing, and variability. This is the
Some of the eight animal movements make skill of Pa Kua Chang. Pa Kua Chang is
great jab-bridge combinations. The bridge can something we teach to ourselves after being shown
easily be followed by other animal combinations the fundamentals. That is why there are so many
in order to lock or throw the opponent, or the expressions of Pa Kua Chang in existence today,
bridge can be followed by various palm and even though the art is only 150 years old. The old
elbow combinations. Think about how all of masters of Pa Kua Chang did not teach all of their
5
The Fundamentals of Pa Kua Chang, Volume II
students the exact same way and the students did the art differently, it was all practiced according to
not follow the exact movements of their the same principles, so it was all just T'ai Chi
instructors. They all learned the fundamentals Ch'uan. Limiting your understanding to the
and then learned how to express the art in a way confines of a "style" will always limit your own
that worked for them. But it is all Pa Kua Chang individual expression of the art.
because it is based on the same principles.
Park does not like to say that there are different My recommendation to anyone wanting to
"styles" of Pa Kua Chang. In his mind the Pa Kua learn Park Bok Nam's system of Pa Kua Chang is to
Chang that everyone practices is all the same if the practice all of the fundamentals as outlined in
principles are there. Everyone is simply practicing these two volumes and their companion videos
different expressions of the same "style." Today and then research how all of these components
everyone wants to categorize all of the different can be combined in a variety of forms, movements,
expressions of Pa Kua Chang into "this style" and and applications. Do not stop your training and
"that style." In doing this, practitioners are limiting look for "new" exercises when you have completed
themselves by not seeing that all "styles" of Pa Kua "learning" the exercises presented in these books.
include all of the same principles and thus they Once you have learned the exercises, your Pa Kua
can all include the same methods. Variation of Chang training has just begun! Take the
expression is part of the art. foundation and build on it by exploring how
When I was visiting the late T'ai Chi Ch'uan these movements in the exercises can be linked
master Fu Zhong Wen in Shanghai in 1991, he together and employed in fighting. In order to
said the exact same thing about T'ai Chi Ch'uan. check your progress, periodically attend one of
He said, "In the old days, no one who practiced Park's seminars or training camps and show him
T'ai Chi said that they did Yang style or Chen style what you have discovered. He will be glad to make
or Wu style, T'ai Chi was just T'ai Chi." What he suggestions and corrections if he has seen you
was saying was that although individual have really put some hard work and effort into
practitioners, or lineages of practitioners, expressed your practice.
6
Chapter 2
Pa Kua Chang Fighting Strategy
7
Chapter 2
Pa Kua Chang
Fighting Strategy
In the last volume of this series we discussed the followed. The theory and rotational angles and linear
"philosophical roots" of Pa Kua Chang by motion is expressed in the Fu Hsi, or “early heaven”
explaining the basic theories of yin/yang ( ), the arrangement of the eight trigrams as presented in the
pa kua ( ), and the five elements ( - wu last volume of this book. The concept of utilizing
hsing). We also presented some examples of how angles in fighting is presented in more detail in this
these theories might be directly related to the volume.
practice of martial arts. Park Bok Nam refers to
these three concepts in Chinese philosophy as the 2) If in executing applications the practitioner
theoretical "trinity" upon which all Pa Kua Chang does not use the rotational, circling, and spiraling
strategy, training, tactics, and techniques are based. principles to overcome his opponent with the least
Park believes that every aspect of Pa Kua Chang amount of force, resistance, and invasiveness, the pa
must adhere to the principles of this trinity. If one kua theory of utilizing circular and rotational motions
component is missing, the practice, technique, or is being ignored. The theory of circular and cyclical
application will be unbalanced and incomplete. In patterns of motion is expressed in the King Wen. or
this regard, he makes an analogy to sustainable life "later heaven." arrangement of the trigrams as
on earth. He says that the sun and the moon are presented in the last volume of this book.
represented by the yin and yang, the five elements 3) If in the execution of a technique, the
represent the earth, and the constant rotational practitioner focuses too strongly on one direction and
movement of the sun and moon around the earth is gets hit from another, the pa kua theory of extending
symbolized by the pa kua. Just as life could not awareness to all eight directions has been forgotten.
exist without all three of these components (sun and This theory is expressed in the balancing of eight
moon, earth, and constant motion), Park says that a directions expressed in the early heaven arrangement
Pa Kua technique which does not contain all three of the trigrams.
principles of the trinity is "dead." 4) If the practitioner uses force which is not
appropriate for the technique, either in trying to
Philosophical Connection to Pa Kua Chang overpower the opponent, applying force at the wrong
Martial Application: time, or applying force at an incorrect angle, then the
A few examples of the philosophical trinity five element theory has been violated because the
not being complete in an application of a creative and destructive properties of the five
martial arts technique would be as follows: elements are not flowing naturally.
1) If a practitioner executes a technique and 5) If the practitioner's movements are not stable
does not obtain the most efficient angle of and balanced, if one movement or application
attack, the pa kua theory of utilizing angles and cannot connect to the next in a fluid, smooth,
positioning the body optimally has not been and even manner, if the practitioner ignores
8
low while striking high, or forgets the left much fighting, too much footwork, too much
while moving to the right, then the yin/yang circle walking, too many palm exercises, too
principle has not been followed. much meditation, or too many breathing
exercises, at the expense of all of the other
Philosophical Connection to Pa Kua Chang aspects of training is not following the
Training: principles of the five element theory.
A few examples of a practitioner not following 3) If the practitioner does not balance his or her
the philosophical trinity in designing a training overall training routine between yang exercise
program would be as follows: (fighting, power exercises, etc.) and yin
1) Not considering every possible fighting exercise (energy building methods of ch'i kung
scenario in practicing the art would and meditation), then the overall program is not
violate the combinatorial aspects of the pa balanced.
kua. This not only applies to such combinations The philosophical correspondences which
as high/low, left/right, inside/outside, are listed above are just a few of the many that
attack/defense, and long range/short range as one should consider in practice and fighting.
we discussed in the first volume, but also Although most of these aspects of martial arts
considerations of environment and terrain, such training and application may seem like
as light/dark, rough/smooth, hilly/flat, or common sense requirements, having the
open/confined should be considered when philosophical model as a base will not only
practicing. Additionally, the practitioner ensure that the practitioner does not forget any
considers the type of opponent he or she might of these training or fighting principles, but will
be facing. Is the opponent tall/short, heavy/light, also provide a theoretical base in researching
left handed/right handed, fast/slow, a puncher different aspects of the art. Without a
or kicker, an inside fighter or outside fighter, a theoretical base and a solid foundation, it will
grappler-or-a-boxer,-etc. be difficult for the student to continually
In order to follow the combinatorial theories of discover deeper levels of training.
the pa kua, the practitioner considers all In evaluating a student's martial
combinations of these yin/yang pairs when applications or training program, Park will
researching his or her art. For instance, the always look for the presence of the principles
practitioner may ask himself, "How would I of the philosophical trinity. Park says that
best handle a large, strong, slow grappler on following the principles of the philosophical
rocky terrain?" And of course the combinations trinity means that the student is being natural
can become more complex. One may be and the training is complete. Park says that
fighting a large, fast opponent who is skilled at these theories are the theories of nature and all
using all sixteen of his striking weapons and things that are natural follow these theories. Pa
the fight might take place in a dark, confined Kua Chang is an art which follows natural
environment (like a bar). If all of these principles belonging to the earth, the
scenarios are not addressed in training, the environment, and the human. Because these
practitioner is violating the pa kua principles are natural, they can be used
combinatorial theory and thus the practice is universally and adapt to any given situation.
not-complete. In the remainder of this chapter we will build
2) If the practitioner does not practice a on the basic concepts outlined in the previous
balanced program of ch'i kung which addresses book and we will discuss some strategy of Pa
all of the five yin organs and their respective Kua application so that the reader will have some
energy states in a balanced manner, the five basic principles to use as guidelines when
element system of checks and balances is not training to use Pa Kua as a fighting art. However,
being addressed. If the practitioner is first we will discuss how some of the strategies of
concentrating too heavily on any one aspect of Pa Kua Chang have evolved from the theories of
training and ignoring others, the five element the philosophical trinity.
theory of checks and balances is also being
violated. Practicing too much ch'i kung, too
9
method, the majority of the practitioners utilizing in Pa Kua Chang forms and fighting sets are all
this art were working professionally as body guards, there is to Pa Kua Chang.
caravan escorts, and residence guards. The bandits
and thieves of the day, who were the primary Pa Kua Chang Adaptability
opponents of the Pa Kua practitioners, usually
carried light or concealed weapons and employed While the tactics and techniques listed above
"dog pack" like tactics in attacking their opponents. defined Pa Kua at the period of time when it was
Therefore, those who worked as bodyguards, being used most prevalently as a combat art in real
residence guards, and caravan escorts needed to life or death situations, these tactics and techniques
be able to handle simultaneous attacks from do not strictly define Pa Kua Chang because there
multiple opponents who were armed with is no way to strictly define an art which is based on
weapons. principle. The art changes as the situation dictates
In order to successfully handle opponents and it changes to a certain degree with each
employing these tactics, one needed to be highly practitioner who practices the art. This is why
mobile, very quick and thorough in application, Tung Hai Ch'uan taught each of his students
and very efficient in dealing with more than one differently and why every Pa Kua instructor has a
attacker at a time. Pa Kua Chang became famous different interpretation of the art. It is not an art
in this era because it's practitioners were able to which should be copied exactly from the teacher
draw from its underlying theories and adapt to his or her students. Every student is unique and
perfectly to this situation. The practitioners were thus every student should be taught to develop
highly mobile, lightning fast, observant and aware his or her Pa Kua based on their own individual
of all directions, and thus could deal with multiple strengths and weaknesses. Additionally, each
attackers. practitioner takes the principles of the art and
Pa Kua's strategy of outflanking the opponent develops them in a way which is suited for a
was developed ideally for this situation because a number of various combat environments. If every
practitioner who was faced with two or more student was taught exactly the same and only
attackers could get to the outside and behind one practiced the art in a well lit, smooth floor martial
attacker and put that attacker between him and arts school, the practice would not be following
the other attackers. Pa Kua's use of turning and the philosophical trinity, nor would it be natural.
twisting maneuvers in rapidly changing directions Park Bok Nam's teacher, Lu Shui-T'ien, required
was also ideal for being able to address multiple that he practice his Pa Kua Chang in many different
attackers. Pa Kua's use of quick and efficient environments. Park was required to practice in
percussive techniques which broke bones or the martial arts studio, on the beach, in the
otherwise quickly damaged the opponent in short mountains, in rocky river beds, and in bamboo
order were also ideal for churning through one forests. He was also required to develop fighting
opponent after another. "specialties" which best suited his aptitude, ability,
Pa Kua Chang is a very effective fighting art and character. He was also required to research
because the practitioners who used the art when other styles of martial arts, both in studying those
it was still in its infancy were employing it in a arts himself from Lu Shui-T'ien and Lu's martial
very difficult combat environment. In those days arts friends, and in fighting opponent's who
you either learned from your mistakes or died. specialized in those other arts. Sun Tzu
Thus, those that were practicing the art in its early recommended:
days were developing strategies and tactics which "If you know the enemy and know
are highly effective in many situations. If an art yourself; in a hundred battles you will never
is effective in fighting multiple opponent's who be defeated. When you know yourself, but
have weapons, it is certainly going to be effective are ignorant of the enemy, your chances or
against one opponent who is unarmed. However, winning or losing are equal. If you are
because the principles of Pa Kua are adaptable to ignorant of both yourself and the enemy,
any situation it is incorrect to assume that the you will certainly be defeated."
specific techniques that have been handed down
11
In order to "know himself," Park was required does not have linear applications. Pa Kua has
to develop his own individual specialties based on ground fighting, punching, kicking, joint locking,
his strengths and abilities. In order to "know the inside fighting, outside fighting, etc., because Pa
enemy" Park studied the enemy's strengths. In Kua principles can be effectively applied to all of
studying these other styles and fighting these situations. Pa Kua Chang is an art based on
practitioners who specialized in those styles, Park principle, not technique or situation. Because it is
was able to better research various Pa Kua Chang based on principle, it is universal. It can be
applications as they would apply in different applied by any practitioner in any situation,
environments and against different opponent's. environment, or scenario.
Adapting the Art to Fit the Situation The Individual Expression of the Art
Although submissive joint locks which control Pa Kua follows natural principles. The principles
an opponent, rather than break their joints and of nature dictate that all individuals are graced
bones immediately, and grappling techniques with their own unique nature, their own character,
which are used to take the opponent to the ground, and their own personality. In order to follow the
wrestle with them, and choke them out, are principles of nature, each individual follows his or
becoming popular today, they are not very effective her own individual nature. Taoist teachings invite
against multiple attackers or opponents who carry each individual to discover his or her own nature
concealed bladed weapons. When fighting and live life in accordance with their nature and
multiple attackers, if you take too long dealing natural principles. Following the "Way" in Taoism
with one, or you go to the ground with one, the is discovering how one's own nature fits seamlessly
others will quickly be on your back. Also, if you into the ever changing ebb and flow of the natural
try to wrestle with someone who has a concealed world.
knife, you will easily be cut or stabbed. Since history indicates that Tung Hai Ch'uan
Because ground grappling and submissive was a Taoist and developed his art while living at
techniques do not work well in the combat a Taoist temple, it would seem natural that he
situations which the Pa Kua practitioners who would teach his art to his students based on the
developed the art most often found themselves, Taoist principles. An examination of what his
Pa Kua practitioners have historically not practiced students learned from him and how it was in turn
submissive techniques or ground fighting. But it passed on to their students reveals that he did
does not mean that Pa Kua Chang does not have teach every student in accordance with that
these things. Pa Kua is an art based on sound student's unique qualities and characteristics.
theoretical principles and thus it can address any In teaching his students, Tung Hai Ch'uan
combat scenario. Practitioners who are taught to took into account each student's martial arts
understand the principles of Pa Kua can learn to background, character, size, aptitude, ability,
research and apply those principles in any personality, age, and physical condition. Because
situation. he taught each student differently, based on that
Pa Kua Chang strategies in the late 1800's and student's unique qualities, every lineage of Pa Kua
early 1900's were designed to fight multiple Chang has its own flavor. Even fundamental
attackers and deal with them quickly and components of the art, such as the "eight mother
efficiently. The forms and techniques which have palms," are executed differently in every lineage.
been passed down in choreographed sets reflect Tung's students and grand students all approached
these strategies. However, we should not think the transmission of their art as Tung did. They
that Pa Kua Chang is limited to these specific taught each student in a way that was unique to
techniques or the multiple attack scenario. It is that student. Unfortunately, in recent years,
wrong to think that because Pa Kua Chang was instructors have begun to "standardize" Pa Kua
not practiced as a ground fighting art, that it does forms and teach the same choreographed form
not have ground fighting, or because it emphasizes routines and fighting applications to all of their
the palm strike, it does not strike with the fist, or students, regardless of the student's size, aptitude,
because it primarily employs circular footwork, it or character. This severely limits the art and the
12
individual student's progress in the art. to more complex. Here, all students are taught
The first and foremost principle of Pa Kua pretty much the same concepts, theories, and
Chang is adaptability and change, thus those exercises. This is necessary in order to gain a
practitioners who try to define Pa Kua Chang foundation. Next they move on to learning
practice or application and rigidly structure its simple compositions which were created by others.
practice and application are moving away from Here they are learning how to put the theories and
the art. Art is something that is individually exercises into practical usage. From there they
expressed and is adaptable. Providing too rigid a gradually move on to play more challenging pieces.
structure to an art and judging it based on that At this juncture they are playing music, but it is
structure is stifling the growth of the art and the not their own, it is still someone else's music.
progress of those who practice it. In Park Bok Some people are comfortable spending their
Nam's school, students are taught the principles lives playing the compositions of others, and that
of the art before they are taught forms or is fine, but it is not Pa Kua. As the musician
techniques, they are taught to identify their progresses, he or she will first begin to add some
individual strengths and weaknesses and are given of their own phrases, ideas, and embellishments
to the melody line of those compositions that
a prescription program which is designed to
they have learned from others. They begin to take
improve their weaknesses and highlight their
what someone else has created and add their own
strengths. They are taught how to adapt their art
individual style, flavor, and taste to that music.
to various opponent's, environments, and fighting
They are creating their own expression based on
situations while remaining true to the fundamental another individual's ideas. From here some
principles of Pa Kua Chang. musicians will begin to compose their own pieces.
Principle vs. Technique By doing so, they are expressing themselves
through their art. Now it becomes a real art
Pa Kua Chang is an art which is based on because it is that individual's expression of him or
principles, not on techniques. This does not herself through the music. But it is still not Pa Kua
mean that Pa Kua does not have techniques. It unless the composition is improvisational.
means that at the root of all techniques are the I relate Pa Kua Chang to improvisational Jazz
underlying principles and thus all techniques can because high level Pa Kua Chang is "in the
be varied or changed in accordance to those moment." It is a correct, natural, appropriate
individual response to each instant in time. This
principles. In studying an art which is based on
is the concept of wu wei ( ) which was
principles instead of techniques, the practitioner
discussed in the previous volume of this book.
is able to take his or her art and make it their own.
High level Pa Kua application is not
If the principles are understood, the practitioner
pre-calculated or preconceived, it is not
can take that art into any situation or scenario and
reproducing techniques that one has copied
learn how to apply it. This is why Park Bok Nam from another; it is true improvisation. High level
is so adamant in his teaching that the student Pa Kua is about creating in the moment, it is
learn and understand the principles as they apply about responding to an opponent's movement in
to their individual body type and character, not ways that you may have never expressed before
learn choreographed forms or memorized in practice. It is about being unpredictable,
techniques the same way as everyone else in the yet still responding appropriately. A high
class or even the same way that the teacher executes level Pa Kua practitioner can respond to any
them. situation, even if they have never faced it before
Learning Pa Kua Chang could be compared to because he or she has worked long and hard to
learning to play music. And in this respect, Pa Kua make the principles of Pa Kua Chang a part of
Chang is the improvisational Jazz of martial arts. their natural response to any situation. Park
In learning music, a student will start out by calls this "fighting by feeling."
learning the theory of the music and the rudiments Many people ask questions like "Does Pa Kua
of their instrument by practicing numerous drills have ground fighting?", or "Do Pa Kua practitioners
with chords and scales, progressing from simple use their fist?" The answer is, "Yes, because it is a
13
principle based art, Pa Kua can handle every kind of principles are applied under varying circumstances.
fighting situation and utilizes every available When Park Bok Nam gives tests in his school,
weapon." Although most Pa Kua practitioners do he does not require the student being tested to
not practice a lot of ground fighting, the principles of simply demonstrate a list of choreographed
Pa Kua fighting certainly apply as much to ground routines and applications that he has been shown.
fighting as they do to fighting on your feet, or with Park's only concern in testing a student is to see if
weapons, or any other form of combat. If you watch the student understands the principles of Pa Kua
any good ground fighter, you will notice that they and how they are applied. When Park tests a
adhere to all the principles of Pa Kua. The are student, the student will be told, "Based on all of
relaxed, they don't use force against force, they the drills, exercises, theories, principles, and forms
utilize optimum angles of attack, etc. These are all which you have learned so far, design eight
principles of Pa Kua Chang. two-person application sets which adhere to
Any good fighter will vary his fighting strategy the principles of Pa Kua." The student will then
based on his opponent and his environment. The be given a few months to work with a partner
opponent could be large or small, tall or short, male and design eight two person sets which each
or female, fast or slow. The opponent's strengths and consist of four or five offensive moves with
weaknesses vs. your own strength and weaknesses defensive counter moves. Each set begins with
will also come into play. The opponent might be a the two partners walking the circle while facing
boxer who is good with his hands, a kicker who is each other, partner "A" will attack, "B" defends
good with his feet, a wrestler who is good at and counter attacks, "A" defends that attack and
grappling, he or she might be carrying a weapon, etc.
initiates another attack, etc. This exchange lasts
Additionally, the environment plays a role; it might
for four or five moves and then ends with both
be dark, it might be sunny, the terrain might be
partners walking the circle facing each other, yet
rough or smooth, the area might be wooded or open,
walking the circle in the opposite direction. The
it might be in a confined area with limited space to
same sequence is then demonstrated on the
move, etc. So how does one handle all these
opposite side. The student must demonstrate
different situations? Do you say, well I'll study Pa
Kua in case I'm attacked by multiple opponents, I'll eight such original sets. In evaluating the
study wing chun in case I ever get attacked in close students who are being tested, Park looks to see
quarters, I'll study jujitsu in case I ever have to fight that all of the principles of Pa Kua are being
on the ground, I'll study ninjitsu in case I'm attacked adhered to in the execution of the maneuvers
in the woods at night, etc. This sounds ridiculous, and critiques the students accordingly.
but there are a lot of people who are out there doing By requiring the student to invent his or her
this type of thing. own applications, Park is forcing the individual to
I believe that individuals jump from one art to really think about what they are doing and how
the next trying to complete their martial arts the principles of Pa Kua are used. While other
training because very few martial arts teachers are systems of Pa Kua have such two-person drills as
teaching complete martial arts methods based on part of their curriculum, they are usually handed
principles which can be applied to any situation down from the teacher as choreographed routines.
and/or students are not pursuing these arts in great Park would rather the student work to come up
depth. Any martial art which has been around for a with their own ideas based on the principles he or
hundred years or more is bound to be a good, she has learned rather than teach students
complete martial art system, otherwise it would not applications directly. When the student is required
have lasted. However, today too many people do to come up with their own ideas and then receive
not fully understand the art they practice or get feedback about how well those ideas adhere to the
bored with it before they reach a depth of principles of Pa Kua, it is easier for the student to
understanding. Studying choreographed forms and begin to understand the principles of Pa Kua and
applications and mimicking these memorized apply them in various situations. At this point the
routines to get belt ranks falls far short of studying art begins to become their own, not something
a complete method and understanding how its they are mimicking from someone else.
14
Strategies of Pa Kua Chang Fighting
In this section we will discuss some of the While "distance and degree" are important
important principles that a Pa Kua Chang factors in every movement and thus each
practitioner will adhere to in fighting. These application should be studied in detail in order
are ideas and strategies which are taught after to appreciate the correct distances and angles
the practitioner already has an experiential which make that technique work best, there
knowledge of proper mechanics of movement are a few guidelines to use when studying
and body alignments. Relaxation, body these concepts. We will now discuss a few of
mechanics, body alignments, internal and these concepts.
external harmony and connections, use of
intention (the mind), ch'i awareness, and Know your Distance
fluidity and continuity in motion are all When applying Pa Kua Chang as a fighting art,
principles that are first trained during solo the practitioner has an arsenal of weapons at
exercises, practice sets, and forms. After the his or her disposal and a variety of ways to
student has gained some knowledge of these apply each weapon. In researching how each
components of Pa Kua Chang training, and of these weapons can best be employed, it is
learned how to control his or her own body in important that the student know what distance
the martial arts context, he or she is ready to the weapons and techniques are most
take these principles and learn how they relate efficiently used and how to combine these
to a two person encounter. weapons and techniques as the distances
In addition to the principles listed above, there change during the encounter. In general, the
are other principles and theories which must feet, heels, hands, wrists and palms are long
be studied and practiced when the art is taken range weapons, the elbows and knees
from the solo exercise to the two person, or mid-range weapons, and the shoulders, hips,
fighting, environment. We will discuss a few and head are short range weapons. These
of the principles which Park Bok Nam feels weapons are most efficiently utilized at these
are most important in the sections which distances and are best combined together as
follow. distances change. For example, it would be
inefficient to throw an elbow at an opponent
Distance and Degree from a long range because the time spent
closing the gap in order to get close enough to
Whenever Park Bok Nam lectures about Pa throw the elbow is wasted.
Kua Chang's use as a fighting art, he always Another aspect of fighting which is related to
talks in great depth about what he calls distance is the target of attack. Park states that
"distance and degree." In order to be efficient when most beginning students think about
and effective in fighting, you must always be fighting, they are overly concerned with
concerned about the distance between you and hitting the opponent's body or face. Park's idea
your opponent and the body alignment, or is that instead of blocking, joining, or slipping
angle between your line of power and your the opponent's hand or an arm as you are
opponent's line of power. This applies to every working your way in to strike the body, there
part of your body and throughout the entire will be situations where it is best to hit or
execution of a movement or application. break the hand, arm, foot, or leg of the
Additionally, the two concepts of "distance opponent as you are working your way in. His
and degree" can mean the difference between theory is that if the opponent throws a
a technique which is masterfully executed hand or foot at you in an effort to strike
with little apparent effort, and one that is you and you block without damaging it, he
awkward, cumbersome and requires the use of is free to use that weapon again. In many
muscular strength in its application. instances, Park likes to take the opponent's
15
weapons away from him as he works his way in weapons. This kind of strike is aimed at certain
to strike the opponent's body or head. He calls vital points on the back of the opponent's hand,
this "taking the fang's out of the snake so it can't top of his foot, or around his ankle or wrist.
bite you." In examining distance, one must Utilizing whole body power and a whipping
consider defending and attacking at various wrist action, you can easily damage the
distances with one's own weapons and targeting opponent's hand, wrist, foot, or ankle at this
the opponent's weapons and his vulnerable areas distance. If an opponent has grabbed you by the
at different distances. wrist, in some situations, a well aimed back fist
In studying attack and defense weapons, we to the top of his hand will work well at this
always consider the joints. The joints are the distance. Of course, these kind of strikes in Pa
best weapons we can use and they are also the Kua Chang are also always combined with
ideal places to inflict damage on the opponent. footwork. From this distance you could also
The distances one must consider in researching grab the opponent's extended hand or foot.
the efficient and effective applications of the art
are outlined below. When describing each Distance Three: Your long range weapons
distance we will give some examples of meet the opponent's mid-range weapons and
applications that might be applied at these your mid-range weapons reach the opponent's
distances. Keep in mind that all of these long range weapons. At this distance, your hand
applications are appropriately combined with reaches the opponent's elbow, your foot reaches
footwork and continuous combinations of his forward knee, and your elbow reaches his
techniques. Usually the combinations will hand or foot.
follow a "continuously linked" pattern so there At this distance you can strike the opponent's
will be no hesitation between consecutive strikes, elbow with your fist or palm, kick the
locks, or throws. opponent's forward knee, or strike his extended
Regarding "blocks" versus "strikes," one must hand or foot with your elbow. In some situations
remember that in Pa Kua Chang there is rarely where an opponent has grabbed Park's hand and
any real differentiation between an attack and a pulled it low, Park will execute a powerful
block. Most blocks are meant as attacks. Either elbow strike to the top of the opponent's hand.
the block itself damages the opponent, or the This strike is combined with footwork and
block is seamlessly linked to the follow-up immediate and continuous follow-on
attack. The practitioner's energy is always movements. At this range you can also apply
flowing towards the opponent when executing a joint locks to the opponent's wrists and elbows.
"block." Consequently the rhythm of movement At this range a nice follow-on to an elbow to the
is "one," not "one-two." opponent's hand is a back fist to the opponent's
elbow. The combination of an elbow strike
Distance One: We will refer to the first distance immediately followed by a back fist with the
as "being out of range." This is the "safe" same hand is often used in Park's Pa Kua
distance where neither opponent can touch the because the combination is very fast and
other.Distance Two: Your long range weapons efficient. This combination will always follow
meet the opponent's long range weapons. The the progression of the opponent's joints. If
second distance is the zone where your hand can someone kicks and you elbow his ankle, the
touch the opponent's hand or foot. Obviously the elbow is immediately followed by a back fist to
opponent's foot can extend out farther than his the opponent's knee. If the elbow is applied as
hand and your foot can extend out farther than an arm break to the opponent's elbow, then the
your hand, but for the purpose of this discussion back fist is to the opponent's shoulder. If the
we will count these distances as being in the elbow is applied to the opponent's shoulder, then
same relative "zone." the back fist is to the face or head.
At this distance, good techniques to use include Also, keep in mind that when we are talking
striking the opponent's foot, ankle (if he kicks at about the various distances here we are focusing
you), hand, or wrist, with a sharp, crisp, on attacking the opponent's joints because these
powerful back fist using your knuckles as are generally areas where you can do the most
16
damage as you work your way in to the Distance Five: Your mid-range weapons meet
opponent's head and body. However, do not the opponent's short range weapons and his
forget there are also many strikes you can use to mid-range weapons reach your short range
the opponent's forearms, upper arms, lower legs, weapons. Here your elbows and knees can strike
and upper legs. the opponent's body, hips, and shoulders. Of
course, as we get into these closer ranges, the
Distance Four: Your long range weapons meet long range weapons can also be used. There are
the opponent's short range weapons, your times when you are in close enough to strike the
mid-range weapons reach his mid-range weapons, opponent's body with an elbow or knee and you
and your short range weapons meet his long might chose to use a fist, palm, or foot. It all
range weapons. Here your hands can reach the depends on the angle, the setup, or the follow-on
opponent's hips, shoulders, body, and head. technique.
Obviously there are many striking targets here. Besides the obvious elbow and knee strikes that
Rules of thumb in Park's system is that the fist is can be used at this distance, one can also use the
applied to joints while the palm is applied to soft hips and shoulders in locking the opponent's
fleshy areas of the body. On big, muscular elbows and knees. A nice application of the
opponent's it is best to strike the joints. Well "hiding flower under leaf" body movement,
aimed strikes to vital points around the shoulders which is presented in Chapter 4 of this volume, is
or hip joints will damage an opponent even if to grab the opponent's wrist with your hand to
they have a lot of muscular cover on other areas deflect his strike and then step in and twist your
body into the opponent's elbow while pulling his
of their body. Near the joints there are many
arm across your body.
nerves close to the surface of the skin that are not
There are many combinations of all of your
usually protected by muscle. The attack angle is
weapons that you can apply at this distance. This
always important when attacking the joints,
is the distance where the Pa Kua Chang
nerves, and vital points.
practitioner is comfortable. This is where he likes
At this distance your elbows can reach the
to get when a fight occurs in order to finish the
opponent's elbows for applying both strikes and opponent quickly.
joint locks. Grabbing the opponent's wrist with
either hand and then following up with an elbow Distance Six: Your short range weapons reach
to the back of the opponent's elbow is the most the opponent's short range weapons. Here you
common lock at this distance. As always, can apply many different kinds of hip and
footwork is important in these applications. In shoulder strikes, locks, and throws. This is the
applying Pa Kua joint locking applications, the best distance to be at when executing throws
palm strikes can either set up the lock or follow because at this distance, and with the proper
the lock. Some of the best palm strike angle, it is easy to offset your opponent's balance
opportunities come out of joint locks which offset (however, you have to be careful because you are
the opponent's balance, or break their joints. also vulnerable to being thrown if your body
Keep in mind that in Pa Kua Chang we seldom, if alignments and angles are not right).
ever, lock just one of the opponent's joints. If you We have briefly run through these distances and
do not lock the chain of joints that lead all they some examples of possible applications at these
way to the spine, it will be easy for the opponent distances so you can get the general idea of how
to escape. Park thinks about distance. If you apply a
At this distance your kicks can reach the sequence of combinations on an opponent and
opponent's rear leg and your knees can be used to you attack him at distance two and then your next
parry the opponent's kicks or lock his knees. strike is at distance six, Park would say that you
Your short range weapons (hips and shoulders) wasted time. You wasted time because it will
can also be used at this distance to parry an take too long for you to get from distance two to
opponent's long range weapons. These parrying distance six and thus you have left a window of
techniques are always combined with footwork. opportunity for your opponent to counter.
17
applications, Park will always look to see that the Park says that there is only one "idea" when
student continuously maintains the optimum attacking. Everything that follows is an
distance and angle on the opponent. appropriate response to the opponent, the
environment, and the energy flow. This typifies
Jab, Bridge, Finish the concept of wu wei which was discussed in
Park Bok Nam defines the three stages of a Pa the previous volume of this book.
Kua Chang attack as " jab, bridge, and finish." Park's ideas about bridging include techniques
The "jab" phase of the attack is simply the first and movements which are designed to
move which is executed in an attempt to gain a effectively create an opening of what Park calls
reaction from the opponent or "set him up" for the opponent's "center door" ( - chung men)
what is to come next. This could be one of any or "side door" ( - ts'e men). Opening up the
number of realistic moves or techniques which center door includes any entry which opens up
offset or gain a response from the opponent. The the opponent's center (head and chest). Opening
"jab" is usually a realistic technique which will up the side door includes any entry which
damage the opponent or offset his balance if he exposes the opponent's flanks, and sides.
does not appropriately respond to it. A skilled Park's rule of thumb here is that it is always
opponent is not usually going to fall for a false better if you can open the opponent's door and/
ploy, a faint, or a fake. You have to give them or keep your own doors closed using one hand.
something realistic which causes them to react. This means that in either attacking the opponent
The jab could be a strike to the opponent's hands, or defending yourself, you rarely want to have
wrists, or arms, shoulders, or head, a deflection two of your hands (here the term "hands" can
of their arms, a kick to their legs, a grabbing and include the whole arm) on one of his hands or
swift pulling of there wrist, a grabbing and one of your hands on his hand while your other
bending of their fingers, etc. There are many hand is on his other hand. In other words, you
possibilities. want to avoid tying up both of your arms at once.
Park Bok Nam's teacher, Lu Shui-T'ien, would You always want to try to have one hand free.
use his knuckles, fingers, or palms to strike vital The way to do this is to employ the use of the
points on Park's hands, wrist, and arms when he elbows and the footwork.
was "jabbing." Park said that his teacher was so For example, if the opponent grabs one of your
accurate at striking vital points and so powerful wrists and then tries to strike you with his other
in these subtle strikes that Park would cringe in hand, do not block that strike with your free
pain as his entire arm would go numb. Park's hand. That strike can be "blocked" by using
teacher would say, "You don't worry. This your footwork, and/or the elbow of the arm he
damage is a long way from your heart. You will has grabbed. This way you can gain a superior
not die." position and be free to simultaneously strike him
In executing the "jab" phase of the attack we with your free hand. Park frequently uses his
will always assume that the opponent is skilled elbows and shoulders as second and third
and will effectively counter the jab. Depending "hands" when he is attacking and defending. He
on the opponent's reaction to the jab, the can successfully do this because of his superior
practitioner will jab again, or enter the knowledge of angles, precise footwork, and a
"bridging" phase of the attack. high degree of flexibility in his joints.
The "bridge" is the move which follows the jab Once the Pa Kua Chang practitioner gets
and is executed in order to "bridge the gap" or inside on the opponent, he will continue to stay
otherwise close with the opponent in order to get inside until the job is finished. There is no
inside to the opponent's vital areas where you can bouncing in, striking once, and then bouncing
really do some serious damage. Although the back out as in sport fighting for points. Once
practitioner always approaches the jab-bridge you are inside, you stay until the job is finished.
combination with an idea in mind, the exact type Again, it is your footwork and knowledge of
of bridge which is used will always depend upon angles and distance that keeps you there.
the opponent's initial reaction to the first move.
19
If the bridge is successful, then we can follow up going to let you just walk up and hit him. In
with a finishing technique. If the opponent is studying the jab-bridge-finish sequence when
skilled, we may need to employ several quick, designing attacks, the practitioner is prepared to
repetitive bridging maneuvers before we can get first offset the opponent or otherwise gain a
inside on him or out flank him. A skilled reaction from them. Based on the opponent's
opponent is not going to let you continue hitting reaction the practitioner will immediately follow
him from a vulnerable angle. He is going to move. with an appropriate bridge to get inside the
Utilizing your footwork, you stick on the opponent's defense and bridge the gap to set up
opponent like glue. Where he goes, you go and for a finishing technique. This series of
you don't let up until the job is done. Park Bok movements must all flow smoothly from one to
Nam calls getting inside on the opponent the other with no hesitation or loss of
"opening his door." He says that once the door is momentum, otherwise the opponent will be able
open, you do not let the door close until you have to easily counter all of the techniques. The
finished the job. skilled Pa Kua practitioner relies on his
The "finish" is the strike, break, kick, or other footwork, ability to rapidly change directions,
technique or series of techniques which literally and a continuous flow of well placed, efficient
finishes the fight. While a worthy opponent will techniques to overcome the opponent.
not always allow one to get away with a quick
one, two, three attack, Park has students think
about initiating attacks with this philosophy in Lien Huan
mind. ( - Continuously Linked)
When attacking an opponent, Park says that you
have in your mind a "one, two, three" idea which There are many forms and styles of Pa Kua
consists of a jab, bridge, and finish, but at each Chang which identify themselves as being lien
stage you are ready to change based on the huan (continuously linked). All good Pa Kua
opponent's movements. In most instances, you instructors will emphasize the idea of being
will execute "one" (a jab), and begin to initiate continuous, or seamless, in the execution of
"two" (the bridge) before you will be able to feel forms. Continuity, fluidity, and smoothness are
if you can execute "three" (the finish). important aspects in the practice of Pa Kua
When you initiate "one," you will be sensitive to Chang. This idea is emphasized in forms
what the opponent's reaction to that jab will be because it is vitally important to Pa Kua
while you are beginning your execution of the fighting.
bridge. Because the bridge has been calculated to If executing any combination of techniques, the
be a technique that will work against the practitioner always wants to apply the
opponent's most likely response to the jab (and combination in such a manner that each strike is
therefore the jab is also a set up) the bridge has a easily followed by another effective strike. You
good chance of working. If the bridge works, the never want to put all of your eggs in one basket
practitioner rolls right in to the finish (which is or reach a dead end in the chain of possible
usually a series of techniques combined together). combinations. If each execution can easily
However, the opponent may move in a manner connect with another, Park says that the
which is unexpected, or execute a good counter movement is " natural." If the student executes a
to the jab or bridge and therefore the practitioner technique and then is situated such that there is
needs to know how to sense the opponent's no easy, smooth, and continuous way to flow to
movement and change appropriately. He or she another technique, Park says the technique is
may have to execute several bridging techniques "dead."
before the opponent is opened up for the finishing When fighting, or in the practice of solo forms,
techniques. All of these technique combinations a Pa Kua practitioner looks as though he never
should be applied smoothly and continuously. stops moving. There are no breaks, cuts, or
When Park's students are researching fighting hesitations in his movements or energy. Every
combinations, they will keep the jab, bridge, move flows seamlessly into another. This ability
finish theory in mind. A worthy opponent is not to continue adapting, moving, and changing
20
teaches them principles and the students must combinations and sequences. The students may
then discover how those principles can be start researching simply two or three move
applied in combat. sequences. Once they are comfortable with these
In Park's school, this is a three step process. The short sequences, longer combinations and
student will first engage in what Park calls sequences can be added. From here the students
"imagination" sparring. In this stage the student will continue to escalate the length of the
will try and put together what he or she thinks to sequences, the speed of the combinations, and
be effective sparring combinations. When the power behind the movements until they have
approaching any Pa Kua Chang application or reached a free sparring mode.
researching any Pa Kua fighting technique or In the free sparing mode, the combinations and
strategy, Park Bok Nam always has his students sequences which were practiced in research
keep one rule in mind. He says, "Always sparring are all going to change as the situation
imagine that your opponent is bigger, stronger, dictates and this is precisely how these
and better than you are." combinations are tested. Combinations in Pa
In researching Pa Kua applications, the student Kua are not strictly defined as one-two-three
will imagine an opponent in front of them and techniques where "I do this, then he does this,
then execute a fighting sequence either as an then I do this." They are more like branches of a
attack or a reaction to an opponent's attack and tree. The student begins a sequence and from
try to get a mental image of whether it would that beginning learns about which branches are
work or not. Once the student comes up with an strong and which will break. Learning
attack or defense sequence he or she thinks is in sequences and combinations becomes a process
accordance with all of the principles of distance of learning how to flow with and adapt to the
and degree and continuously linked movement, movements of the opponent.
he or she will begin to imagine possible ways In going through this process over and over with
the opponent might react to the execution of the different variations to given sequences, the
combination and then work out variations in student is not trying to gain an arsenal of
order to conduct further research. techniques as much as he is gaining an innate
After the student has researched a particular feeling for how to move and adapt. Memorizing
combination sequence and the fighting scenario the sequence of techniques that work is not as
and variations, he or she then begins to work important as gaining a body knowledge of how
with a partner to see if the combinations will and why these things work. Once this
work in reality. First the partner just plays the knowledge is gained, the student can learn how
dummy and the student executes the movements to fight by "feeling" instead of "technique."
to see if the movements adhere to the principles Once the student finds out what works on one
as he or she "imagined" they would. If the partner, he or she will then go and find out if the
student is satisfied with the sequence, then the strategies and sequences work on different
partner begins to try and counter the sequence partners who are of various sizes, strengths,
and test the student's ability to vary the sequence ability levels, and martial arts backgrounds. The
in accordance with the partner's movements and student can also research the applications on
counters. different surfaces such as a slick floor, a paved
In researching variations, the partners try to use street, a grassy lawn, a wooded area, a hill side,
a methodology based on the principles of Pa or a sandy beach, to find out how the
Kua Chang. They explore all possible footwork applications might have to be varied in order for
angles the partner could employ to counter the them to work in all environments. Once he or
student's original move, they explore all of the she feels comfortable that a certain sequence is
possible arm counters and leg counters that workable, then Park will take a look at it and
might go along with the footwork angles. They make suggestions. This is how students in Park's
try out all of these possibilities and think about school learn how to apply Pa Kua.
the best solutions.
These two person drills begin with very short
22
Chapter 3
Pa Kua Chang Footwork Training
23
Chapter 3
Pa Kua Chang
Footwork Training
In the footwork training chapter of the last Physical Benefits
volume of this book we primarily focused on the The physical benefits of the circle walking
"eight direction rooted step training." This training practice include an increased overall physical
provided a strong footwork foundation for many strength, improved balance, full body
types of Pa Kua Chang practical application. coordination, and functional flexibility.
Included in that chapter we also presented a Additionally, cardiovascular health can be
introductory section on Pa Kua Chang's circle improved with the walking conducted at a
walk practice and the practice of the k'ou pu ( ) semi-rapid pace for a sustained period of time.
and pai pu ( ) maneuvers. Once the student While the basic circle walking practice will give
in Park's school has a basic understanding of the practitioner benefits in all of the above
the "eight direction rooted stepping" footwork, mentioned areas of physical skill, there are also
he or she will continue to practice those circle walking variations and special methods
techniques, but the focus of the footwork which will specifically focus on each of these
training will then turn primarily to the circle areas.
walk practice. This practice begins with the Legs: In terms of physical strength the circle
basic circle walking that was presented in the last walk practice will benefit both the legs and the
volume of this book and gradually builds to upper body as well as torso and upper and lower
more advanced techniques and training. In this body coordinated strength. Obviously the legs
chapter we will discuss Pa Kua Chang's circle benefit from the walking itself. A practitioner
walking practice in more detail and then present who wants to focus on strengthening the legs will
some of these more advanced circle walking walk in a lower posture. Additionally, all circle
components. walk variations (as outlined in the next section of
this chapter) benefit the legs in different ways. In
Why Walk the Circle? other words, the stepping method can be modified
depending on what aspect of leg strength the
The circle walk forms the foundation of Pa Kua practitioner is trying to develop. For example,
Chang training for a number of important reasons, sometimes practitioners practice a high "crane
each of them having to do with the development step" whereby the foot of the stepping leg is lifted
of fundamental physical skills, internal cultivation to about knee height before stepping forward.
skills, and fighting skills. In this section we will This trains the practitioner to be stable and
describe some of the physical benefits, internal balanced on one leg and thus provides a foundation
skills, and fundamental fighting skills the Pa Kua for Pa Kua's leg trapping, kicking, and sweeping
Chang practitioner gains from the practice of techniques. Some practitioners take this idea a bit
circle walking. farther and walk on top of bricks, poles that have
24
been driven into the ground, or different sized eight minutes each.
stones that have been arranged in a circular pattern. Torso: In Pa Kua it is extremely important that
These are all methods of improving balance and the torso (which will include the areas of the
stability while remaining in motion. Park Bok waist, hips, pelvis, and inner thighs) is strong and
Nam's teacher had him walk the circle in a river flexible. The torso provides the connection
bed full of different sized stones which were between the upper and lower extremities. In all
placed various distances apart. He utilized the internal styles the principle of power "coming
crane step in this training. from the legs, directed by the waist, and expressed
In general, a Pa Kua practitioner who is walking in the hands" is very important. The "waist" in this
the circle with the focus on developing leg strength case includes the inner thighs/groin area, the hips
will primarily be concerned with leg strength and pelvic region, and the lower torso. If the
which facilitates stable, balanced, and smooth movement of the torso is not strong and
whole body movement in coordination with the coordinated with the entire body, the power in
steps. the legs will not be expressed in the hands.
Upper Body: When training specifically for During the circle walk practice the torso is
upper body strength the Pa Kua practitioner will trained during the change of direction. While
walk the circle for long periods of time while practicing the basic circle walk practice most
holding static upper body postures. This practice schools will change directions by executing the
facilitates the training and strengthening of single palm change. The movements of the single
secondary muscle groups and tendons. When palm change are extremely important in training
holding the static upper body positions the the torso. When changing directions and
practitioner will try to relax the major muscle executing the twisting and turning movements of
groups and thus access the smaller secondary the single palm change the practitioner focuses
muscles and tendons which are responsible for on the movement being driven by the legs and
body alignment and stability. These muscle groups being directed by the inner thigh/pelvic region.
are not usually under conscious control because Numerous variations of the single palm change
they are not the muscles which actually perform are presented in Chapter 4 of this volume.
physical body movements. Their function is to The primary movement utilized to change
keep the body in place and stable while the bigger direction during all circle walk practice is the
muscles are actually performing the movement of single palm change. The single palm change is the
the torso and limbs. most important move in Pa Kua in terms of
By holding upper body postures until the major training the body and developing the power of Pa
muscles are fully fatigued, the secondary muscles Kua. The single palm change is also the most
have to work harder and thus they are trained important component of Pa Kua in its combat
more completely. Exercises such as weight-lifting application. If a practitioner can learn how to
work to strengthen the major muscles, however, execute and apply the single palm change properly,
they do not train the secondary muscles and he will be well on his way to developing a high
"stability" muscles, ligaments, and tendons as level of Pa Kua skill.
fully. The result of static posture holding is a very Like everything else in Pa Kua, there are many
stable, connected, and integrated whole body variations of the single palm change. Each school
power. In Park's school the students train this will execute the single palm change in a slightly
aspect of the circle walk practice while holding different manner and within each school there
the eight "animal" postures which were presented are also many variations that are practiced. Pa Kua
on pages 189 to 198 of the first volume of this is based on the principle of change, therefore,
book. Park recommends that students work up to nothing is fixed. In practicing any aspect of the
walking the circle for one hour while transitioning art, whether it be stepping method, the single
through these eight postures. A one hour work palm change, or any given technique, the Pa Kua
out of this nature will have the student holding practitioner will execute a wide variety of
each of the eight postures continuously for about variations. I know of no complete system of Pa
25
Kua that only executes one variation of single flexibility, and whole body power. The torso is
palm change. Most schools will have at least five trained so that the upper and lower body are in
or six different ways of executing this movement. harmony and Pa Kua's rotational power is
Everything from the hand and arm positions, to developed while executing the change.
the direction the body twists, to the positioning of
the feet, to the positioning of the body are varied Body Methods: Here we will use the term "body
in the practice of single palm change. methods" to describe the height of the body, the
Whole body coordination relies on the proper alignment of the body, and the upper body
movement of the upper legs and lower torso and positions used when walking the circle. When
thus the change of direction on the circle during speaking of body height in reference to Pa Kua
the circle walk practice also develops the Chang circle walking practice, practitioners often
practitioner's ability to coordinate the upper and refer to the "three basins" (san pan - ). The
lower body. Additionally, the turning and three basins are the upper, middle, and lower, and
twisting movements executed during the change refers to the height of the body as determined by
of direction on the circle serve to develop a the bend in the knees. In the upper basin posture
functional flexibility. the knees are only bent slightly. In the middle
By functional flexibility we are referring to basin posture the knees are bent more and thus
training which works to stretch and loosen the body is lowered, and in the lower basin
muscles that will need to be supple and loose posture the knees are bent so that the thighs are
during the execution of Pa Kua. It is great if almost parallel to the ground while the
someone can perform the full splits, however,
practitioner walks the circle.
performing the splits or being able to put your
Obviously, the lower one bends the knees
foot behind your head is not nearly as functional
while walking the circle, the stronger the legs will
in Pa Kua as having a loose and supple twisting
become. Lower basin posturing is primarily a leg
and turning movement throughout the whole
strengthening exercise. The normal circle
body, especially in the pelvic region. There are
walking position is middle basin. One will walk
many individuals who have very limber leg
muscles, however, when asked to stand with their in the upper basin posture if they are a beginner
feet and knees facing forward and twist their hips and have weak legs or if they are focusing the
as far as they can to one side or the other, they practice on the development of the upper body
discover that the muscles in their pelvic region and do not want the legs to tire before the arms.
are not so loose. In Pa Kua, functional flexibility The alignment of the body when practicing the
involves twisting and rotating the muscles and circle walk primarily has to do with the position
suppleness in the joints; twisting the legs, of the torso, which includes the waist, hips, pelvic
twisting the hips, twisting the torso, twisting the region, and inner thighs/groin area, and the spine.
shoulders, and twisting the arms. Additionally, Some schools will teach the beginning students to
the twisting is executed in a coordinated fashion walk the circle with the hips, shoulders, and head
while maintaining whole body connection. These square to the path of the circle instead of looking
elements are all trained in the single palm change in towards the center of the circle. In this practice
and the other exercises that were presented in the the beginner is concentrating on the foot work
"body training" chapters of both volumes of this and the hands are either held down by the sides of
book. the body with the palms pressing downward or
In terms of learning how to apply Pa Kua in an are in front of the body (either at lower abdomen
actual combat environment, the change of or chest level) in an "embracing" posture. Some
direction is the most important component of the schools also utilize this body posture while
basic circle walk practice. It is within the change holding arm positions where both hands are
of direction that the techniques of Pa Kua are extended out to the sides of the body in some
usually applied. The change of direction in the fashion (there are many variations on this theme).
circle walk practice also trains the Pa Kua body Eventually all schools of Pa Kua teach the
coordination, full body integration, functional students to walk the circle with the eyes looking in
26
towards the center of the circle. The body is or on a very slippery surface, while others
twisted from the inner thigh area so that the hips imagine energy moving in their body in various
are facing at a 45 degree angle in towards the ways. The images and visualizations that can be
center of the circle. The shoulders are aligned used are endless. Personally, I have found the
with the hips. The different upper body postures KISS (Keep It Simple, Stupid) principle to be the
the practitioner will hold while walking the circle most effective. The more elaborate the
in this manner are many. Each school will have visualization, the farther removed from the
their own set of eight separate postures that they concept of "stillness in motion" one becomes. In
use. The most common posture is the "guard Park's school we primarily use a center pole or
stance," which is also known as the "millstone" tree to focus on and the visualization of walking
posture, the "dragon" posture, or the "green on thin ice.
dragon thrusts its claws" posture. In Park's school Awareness of one's center and how that center
the other variations of upper body postures are relates to the rest of the body while walking the
depicted in the "eight animal" postures. circle and changing directions is another
Another variation which occurs in the circle walk important concept. In Pa Kua Chang the
body posture is the position of the spine. While practitioner is very concerned with the
most schools will maintain a straight spine, some relationship between his center and the
teachers will have their students hold the spine opponent's center. He will want to "protect" his
perfectly vertical while others will have their center while trying to off-balance the opponent's
students tilt the spine forward slightly. The tilted center. Additionally, most of the movements in
spine, characteristic of the Yin Fu style, brings Pa Kua require that the practitioner become
the body weight forward a bit so that it is skilled at moving from his center or moving
centered between the legs (or just slightly in back around his center. Thus, the keener the awareness
of center). When the weight of the body is more of the center and how it relates to the rest of the
towards the center, between the legs, the change body during movement, the more effective and
of direction can be executed faster. efficient the practitioner will become. The
practitioner works to become aware of his center
Internal Cultivation in the circle walk practice both during the walk
Internal cultivation during the circle walk and during the directional change. At various
practice involves the cultivation of a mind/body times, Park will have students focus on their tan
connection, the development of what is referred t'ien (■ ) during the circle walk practice to
to in Chinese as "stillness in motion," a improve the student's awareness of his or her
connection between the "inside and the outside," center.
and a keen awareness of one's "center." During Internal cultivation in the practice of circle
the circle walk practice the mind is calm and the walking can be further divided into ch'i (. )
breathing smooth. The combination of a calm cultivation and mental cultivation as described
mind and smooth breathing is the first step in below.
creating a strong mind/body connection and a
feeling of being "still while in motion" (the inside Circle Walking as a Meditative Practice: The
is "still" while the outside is in motion). Beyond circle walk exercise of Pa Kua Chang originated
that there are many different images and as a Taoist ch'i cultivation and meditative
visualizations that different schools of Pa Kua practice. In the world of Chinese martial arts, this
will utilize during the circle walk practice in practice can be compared to the Chan Chuang
order to create a stronger mind/body connection. ( ), or standing meditation practice which is
Some use something as simple as focusing on an an integral part of the Shaolin and Hsing-I Ch'uan
object such as a tree or pole which is placed in training systems. However, there is one
the center of the circle while others have more important difference; in Pa Kua Chang circle
elaborate visualizations. Some imagine walking walking the practitioner is constantly moving.
through water, thick air, or waist deep mud, The circle walk, or moving meditative practice
others imagine that they are walking on thin ice directly reflects the Taoist influence. The
Taoists were
27
recommends that the mind be relaxed, the energy The "crane step" is similar to the "snake step," in
sink to the tan t'ien, and that the mind have a that the stepping foot slides out above the ground
keen awareness of the physical movement. If all and is placed down flat, however, in the "crane
movements are executed smoothly and step" when the back foot is picked up off of the
continuously with focused intention then there ground it is brought up to the level of the knee of
can be a full mind/body connection. the other leg before it slides out to take the
advancing step. Lifting the leg helps "pump" the
Circle Walking for Ch'i Cultivation: Walking ch'i down to the stepping leg and also helps the
the circle with ch'i cultivation as the main priority practitioner develop balance and stability.
in practice will not differ greatly, in terms of While the "snake step" or "crane step" footwork
mental focus, from the meditative circle walking encourages a balanced flow of ch 'i to the legs
practice discussed in the last section. In the while walking, the practitioner's static
meditative practice the practitioner's goal is to upper-body posture and focused intention will
maintain a calm mind and focused concentration influence ch'i movement in the upper body. Each
while the ch'i collects in the tan t'ien. In walking school of Pa Kua Chang will typically have eight
the circle for ch 'i cultivation, the mental focus different walking postures which the practitioner
and breathing pattern will remain the same, will transition through during the course of the
however, the walking step, body posturing, and ch'i kung circle walking practice. Each posture is
direction change will become a bit more designed to have a different influence on the
complex. body physiologically and energetically.
When walking as a meditative practice, the
Typically the practitioner will walk in one
practitioner's step is smooth and natural. A
direction holding a certain upper body posture for
natural heel-toe walking step executed in a
a desired length of time and then change
smooth, fluid natural walking manner is well
directions and walk in the opposite direction
suited for meditative practice as it is the most
holding the same posture. Upon the next change
natural and comfortable. This step is sometimes
of direction the practitioner will then change to a
referred to as the "lion step" or the "tiger step" by
Pa Kua Chang practitioners and was presented in different upper body posture and perform circle
detail in the last volume of this book. In walking revolutions in both the clockwise and
with ch'i cultivation as a priority, the practitioner counterclockwise directions holding that posture
may want to change the walking step to the before changing to another posture.
"snake step" (also known as the "dragon step" or By the end of the practice the practitioner has
the "mud walking step") or the "crane step" as spent time walking in both clockwise and
these stepping methods are designed to counterclockwise directions holding all eight of
encourage a strong flow of ch'i from head-to-toe. the static upper-body postures. Each posture is
In the "snake step" the heel is only brought up off usually held for the same number of circle
the ground slightly when stepping, and as the foot revolutions. However, since each posture
is brought forward, the bottom of the foot influences the ch'i circulation to the body's vital
remains parallel to the floor and hovers just organs in a different manner, a student who is
slightly above the floor. When the foot has come experiencing a particular health problem may be
forward and is ready to step down, it is placed on advised to hold one or two postures longer than
the ground such that the entire foot lands flatly on the others in order to help his or her body seek a
the ground at the same instant. There is no balance.
heel-toe rolling motion as in the "lion step." The Holding a static upper-body position while
"snake step" is a bit more difficult to perform walking the circle with focused intention and
than the natural heel-toe walk of the "lion step," calm mind helps to balance the ch'i in the body
however its advantage is that it helps bring ch'i and gather ch'i in specific areas as influenced by
down to the legs and feet and thus it is a good the unique posturing. The movement sequence
method to employ in ch'i kung circle walking executed while changing directions on the circle
practice. is designed to take the ch'i that has been gathered
29
and direct it to new locations. The movement of and stop practice. Park recommends that at this
ch'i will differ with each different changing stage in the practice session the student walk
maneuver. Some changes will promote a faster and lower. The mind and body will then
spiraling movement of the ch 'i. Some changes realize that this exercise is not going to stop, so
will influence its movement upward or more energy is sent throughout the body to give it
downward, while other changes will encourage extra stamina and endurance. In effect, you get a
the ch'i to collect or disperse. Each change effects " second wind." This energy surge is very evident
the movement of ch 'i in the body in a different when it occurs. Muscles that were beginning to
way. In Park's school students begin with simple become fatigued do not seem to be so
changes of direction and gradually move on to bothersome and the whole body feels the new
more complex changes which promote the burst of energy.
energy flow in the body in different ways. After the practice has continued a little longer,
Through the process of continually gathering the body will once again try to protect itself by
ch'i during the static-posture walking phase of the sending signals for the exercise to stop. When
practice and then moving it through the body this second wave of signals come, Park
during the various changing maneuvers executed recommends that you use your will once again to
when changing directions on the circle, the aware overcome the fatigue, walk lower and faster, and
practitioner will gain valuable experiential gain a new burst of energy. Park says that if the
knowledge concerning the ebb and flow of ch'i in student does not learn how to use the will to
the body. However, if the student begins to overcome the mind and body, he or she will
practice complex changes too soon, he or she will never progress to the higher levels of experience.
not be able to maintain ch'i awareness throughout After the you have practiced a little bit longer,
the changes. the body will again begin to send signals of
In the first volume of this book Park Bok Nam fatigue. Park says that this third wave of distress
recommended that the student practicing the ch'i signals from the body must be taken seriously
kung circle walking method walk in one static because they are "true." If the practitioner
posture until a "ch'i feeling" is developed continues to use strong will to overcome this
throughout the body. After the practitioner has third wave of signals, the body can be damaged.
cultivated the "feeling," he or she should then Upon ending the circle walk practice, Park Bok
execute the directional change in a smooth, fluid, Nam recommends that the practitioner remain
and connected manner so that the ch'i feeling standing in a comfortable posture with the hands
remains constant during the change. The focus resting down by the sides of the body for several
while walking in the static posture is to feel the minutes. Attention is focused on the palms and
body fill with the energy of that posture. When the ch'i that has gathered there. The student
executing the change, the awareness is placed on allows the hands to hang loosely by the sides,
maintaining the full body ch'i feeling while the relaxes all of the body's joints, and places the
body's energy shifts and adjusts with the physical concentration on the "ch'i feeling." Typically this
movement of the change. "ch'i feeling" will first manifest itself in the hands
When talking about how long a student should as fullness, heat, and/or tingling.
practice the circle walk, Park says that in order to When the practitioner has obtained this ch'i feeling
gain the most benefit from the practice and during the execution of any exercise, he or she will
cultivate the most energy, the student needs to want to relax for several minutes and concentrate on
learn how to use the will to overcome a lazy this feeling after the exercise has been completed. By
mind and body. Park says that when the body concentrating on the feeling, a mind/body/nervous
begins to tire, the body's natural protection system connection associated with this feeling will
mechanism will start to send signals to indicate it develop. The more developed this connection
is time to stop the exercise before the body becomes, the easier it will be for the practitioner to
becomes overfatigued. At this point, Park says that it bring ch'i to the palms or other parts of the body.
is the "lazy mind" that will succumb to these signals With continued practice, the student will be able to
30
produce this effect just by thinking about it. trained, at their most basic level, during the
Later, increased amounts of ch'i will flow to circle walk practice.
the palms naturally, when it is needed, without In a combat situation, the most important skill
conscious thought. for the Pa Kua practitioner is the ability to
One goal in practicing Pa Kua Chang as a change directions rapidly and smoothly while
self-defense art is to be able to move ch'i very maintaining balance and stability (rootedness
rapidly to the palms (or any other part of the in motion). Bending the knees slightly and
body) when striking. When the sinking the ch'i to the tan t'ien when walking
mind/body/nervous system connection has the circle in a smooth, continuous manner
been fully developed, as soon as the body stabilizes the body and places the center of
moves the ch'i will be there and the movement body mass and center of gravity in a position
of ch'i to the palm will be rapid and which optimizes the ability to maintain
spontaneous. Forging the mind/body/nervous balance and rootedness while in motion.
system connection during and after the circle The walking practice trains stability in motion and
walk practice will help the practitioner reach stillness in motion. Here the concept of "stillness
this goal. in motion" not only refers to stillness on the inside,
but also refers to stillness of the upper body while
Fighting Skills the legs are in motion. If the upper body is
In Pa Kua Chang fighting, footwork is primary. bobbing, swaying, weaving, or otherwise moving
The footwork must be executed such that the with each step, you will be telegraphing your
upper body is always stable so that no movements motion. The change of direction during the circle
are "telegraphed" and so that the body is always walk practice also trains the ability to move
rooted into the legs and ground. Additionally, this rapidly and efficiently around one's center. This
stability must be maintained even when the skill is also extremely important to the Pa Kua
practitioner is moving quickly. All of the skills fighter. For more information about circle walking
mentioned above (strength, flexibility, as it applies to fighting skill see the section
coordination, balance, awareness of one's center, "Advanced Circle Walking: Training to Fight" on
etc.), are important fighting skills which are page 36 of this volume.
Circle Walking Variations
As discussed in the last section, there are many step (or snake step), rolling step (or lion step),
benefits the Pa Kua Chang practitioner can gain and the crane step. Below we will outline the
from the circle walk practice. The circle walking characteristics of these steps as practiced in Park
method employed will depend upon the result Bok Nam's school.
desired. Below we will discuss the three stepping
methods employed in Park Bok Nam's system of The Snake Step: The snake step, also commonly
Pa Kua Chang. known as the "dragon step," the "gliding step," or
the "mud walking step," is one of the most
The Foot Placement common Pa Kua stepping techniques. Park refers
While there are literally dozens of different to this as the "snake step" and thus that is what we
stepping methods Pa Kua practitioners will employ will call it in the remainder of this book. In Park's
while walking the circle, there are three main school, this step is not a method that is used very
methods which are practiced by most schools. often in combat, however, it is an excellent training
Each school may have its own special names for step. This step trains balance and stability in motion,
these steps. However, these three methods are thrusting or shoveling power in the legs and
most commonly known as the "mud walking" encourages an increased energy flow to the legs
31
1
2 3
4 5 6
The Snake Step
and feet. move forward, as in normal walking. The heel
Although there are numerous variations of this lifts slightly and then as the foot is brought
step being practiced by the various schools of forward it flattens out parallel to the ground.
Pa Kua, the basic step consists of the stepping There should be no hesitation in the transition
foot sliding out along the ground, or hovering of the foot to the flattened orientation. The
just over the ground, as the foot steps forward. steps are very smooth and continuous.
As it is one of the most commonly practiced
stepping methods in Pa Kua, a wide variety of 2) Stepping forward: Here the foot glides off
variations have subsequently developed. In the ground slightly and hovers just over the
order to explore the snake step that is surface of the ground when stepping.
practiced in Park's school, I will divide the
mechanics of the step into three sections: 3) Placing the stepping foot down: In the
picking up the rear foot, the actual step snake step, when the stepping foot moves
forward, and placing the stepping foot down. forward and is placed in position on the
ground the foot is placed down flat so that the
1) Picking up the rear foot: While executing the entire surface of the foot contacts the ground
snake step, Park allows the heel of the rear foot to at the exact same time.
come off the ground when the rear foot begins to
32
1 2 3
4 5 6
33
1 2 3
4 5 6
The Crane Step
upper body motionless the legs must act as hard time with the smooth even flow and quiet
shock absorbers and the heel-toe rolling stepping of this technique, he tells them to
motion of the feet must be very smooth. When imagine that they are trying to sneak into
the practitioner's heel is set down there is no someone's room without that person knowing it.
thud, it is set down very light and soft. The
transition from heel to toe is very smooth, as if The Crane Step: The "crane step," which is
the practitioner had small rocking-chair type also sometimes called the "chicken step," is
rockers on the bottoms of the feet. The executed with the stepping foot being lifted
transition of weight across the stepping foot is to about calf or knee height before it steps
very smooth and continuous. At the tail end of out. This step is primarily practiced to
the rocking motion across the bottom of the improve balance and rootedness on one leg
foot, the practitioner will "grab" the ground for use when kicking, trapping, and sweeping
with his toes and slightly push off so that there with the legs. Yin Fu ( ) was said to have
is always a smooth forward momentum. been fond of utilizing the crane step. Yin Fu
Park explains that the smooth gradual transition of was also said to be so skilled at leg trapping
weight across the bottom of the foot in the and sweeping that his feet and legs were as
execution of the lion step serves to stimulate the sensitive as a skilled push-hands
reflexology points on the bottom of the practitioner's hands and arms. Walking with
practitioner's foot and thus aids in the overall the crane step will help to develop the balance
health of the body. When students are having a and stability necessary for these leg skills. Park's
34
teacher had him practice this step while primary goal in practice will determine the
walking on top of river stones. walking technique employed and the technique
employed will result in a more pronounced level
The Foot Placement: When practicing the of growth in one or more of the components
various circle walk steps described in this which make up our physical, mental, and spiritual
section, all foot placement, in terms of the existence. In the first section of this chapter we
angle at which the foot is placed in relation to briefly described some of the direct benefits a
the line of the circle, is the same. The outside practitioner might experience if the focus of the
foot (foot furthest from the center of the circle) practice is in one of three areas: meditative
cuts in at approximately 45 degrees to an practice, ch'i development practice, and/or
imaginary line which is tangent to the circle. physical development practice. The Pa Kua
The inside foot steps relatively straight ahead Chang purist will be concerned with
(parallel to the line which is tangent to the development in all three of these areas in training
circle). Angling the outside foot helps the the complete art.
practitioner circumnavigate the arc of the
circle. The exact angle of the outside or inside Conclusion
foot will depend on the size of the circle.
However, as stated above, this foot will Pa Kua Chang circle walking is not one exercise
usually angle in approximately 45 degrees practiced for one specific purpose, it is many
when walking in an average sized circle (see exercises practiced to achieve a variety of
illustration on page 45 of the first volume of physical, mental, and spiritual benefits.
this book). For instance, in the photographs Variations on the theme are numerous. What we
shown in this chapter, Park is walking a fairly have presented thus far in this chapter are only
small circle and thus his inside foot is angled some of the most common circle walk methods.
inward. In the next section of this chapter, we There are many other methods that we have not
will discuss circle walking variations in which mentioned. Anything is possible as long as the
the angles of the feet are much greater in order practitioner adheres to the basic principles.
for the practitioner to navigate very small Aside from the fact that the circle walk practice
circles and spiraling arcs. will help improve concentration and focus,
While the above mentioned stepping develop strong legs, aid in ch'i development, and
methods each have their own unique purpose improve physical and respiratory stamina, this
in terms of foundational skill development, practice helps the practitioner develop the ability
they also have purpose in fighting. Each of the to remain relaxed, integrated, stable, and rooted
stepping methods has an optimum time it can while in constant motion and teaches the
be employed in a fighting situation. Some practitioner how to execute the highly evasive
steps are ideally suited to different kinds of footwork required in tactical application. This
techniques and different kinds of terrains. The ability is vital when applying Pa Kua Chang as a
stepping method employed (both linear and fighting art.
circular) in combat will constantly change Holding static upper-body postures while walking
depending on the situation, the opponent, and enables the practitioner to develop his or her body
the environment. In all complete systems of and forge strong structural connections and
Pa Kua Chang there are complete methods of alignments. Maintaining structural integrity and
training and this means the usage of a wide root while constantly walking is the first stage of
variety of stepping methods in both practice learning how to apply powerful strikes to an
and application. opponent while remaining in constant motion. As
No matter what circle walking technique is discussed previously, this ability is characteristic of
utilized, if the practitioner is relaxed, the body Pa Kua Chang. In the next section of this chapter
is aligned properly and the intention is focused, we will discuss some advanced circle walking
positive results in the physical, mental, and techniques and describe some uses of the circle
spiritual realm will follow. The practitioner's walking footwork in fighting.
35
Advanced Circle Walking: Training to Fight
Everyone who has ever practiced Pa Kua Chang walk practice, a skilled Pa Kua practitioner
has been given the lecture about the importance engaged in a fight is not going to walk in
of the circle walk practice. Stories abound about complete circles around his opponent. This is just
the old masters having been allowed to practice not practical in a realistic situation against a
only basic circle walking methods for the first seasoned fighter. If you are fighting a skilled
several years of their Pa Kua training. While the opponent and take more than two or three steps in
previous section of this chapter discussed some one direction, you have set up a pattern that he
of the great benefits of the circle walk practice, will immediately use against you. It is ridiculous
many readers may still be wondering exactly how to think that you will be able to stalk your
this footwork is employed in a combat situation. opponent by walking in circles around him
The basic circle walk practice is primarily a waiting for an "opening." If this is your idea
training exercise that the beginning and about how Pa Kua circle walking is used in a real
intermediate level student practices to build a fight you are going to be in for a rude awakening
strong Pa Kua Chang foundation. The advanced when you meet a skilled opponent.
Pa Kua practitioner will also continue to practice The key element in Pa Kua's employment of
the basic circle walk to continually reach deeper footwork is not to try and move in circles around
levels of internal awareness. No matter how long the opponent at arm's length, but it is to either try
an individual practices the basic circle walk, there to out flank the opponent or open up his center. In
are always deeper levels to discover. either case, as soon as you move, you are closing
When Park Bok Nam was training with his with the opponent, not running around him. Your
teacher, Lu Shui-T'ien ( ), in Korea, his goal is to gain an advantageous angle of attack.
teacher required that Park practice the basic circle Simply running around someone at arms length is
walk exercise every morning for one hour. At the a big waste of time in a real fight. A skilled
end of one year of practice Park came to his opponent will eat you alive before you take your
teacher one morning and very proudly reported, third step if you try such a thing. The only time
"After practicing for one hour everyday for the this tactic might be used is if you are trying to
past year, I now understand this circle walk bait the guy to set him up.
practice." Lu only shook his head and laughed. We can look at Pa Kua's employment of
He said, "Just keep practicing." circle walking footwork from two
After another year of practice Park came to his perspectives; one is when the opponent
teacher again and said, "I now know why you initiates the attack and the other is if you
laughed at me last year when I told you that I want to initiate the attack yourself. Preferably
understood the circle walk practice. After you will initiate the attack yourself or bait the
practicing another year my knowledge is much opponent into attacking you where you want
deeper and I can say that I now really understand him to attack you so that you can set him up.
this practice." Again, Lu laughed, shook his head The idea that some practitioners have of Pa Kua
and told Park to keep practicing. Park has now being a "passive" and "defensive" martial art is a
practiced the basic circle walk exercise every pile of "new age" nonsense. If you are going to
morning for nearly 35 years and he says that he fight with someone, you do not sit and wait for
has discovered that there is always something him to attack or walk in circles around him
more to learn. waiting for him to attack. Once you have made the
Although there are always deeper levels of decision to fight, you move in without hesitation
experience one will gain from the basic circle and you flatten the guy in the most efficient
36
and effective way possible. When you launch your counterattack against
During a Pa Kua Chang fighting your opponent's initial attack you are already
demonstration Park gave in California, a "thinking" about what comes next and you are
spectator asked Park how he prepared his prepared for anything. (This "thinking" is
mind when he was waiting for the opponent to more a body knowledge than an actual thought
attack. Park said, "Why wait? If you are going process. In other words, your body is prepared
to fight, you attack, if you are not going to to continually attack, adapt, and move.) You
fight, you go home. There is no waiting." never assume that your first technique is going
to work. You never want to think like a "one
The Opponent Attacks First shot wonder" who imagines his first attack, or
If the opponent initiates the attack and you first counterattack, will devastate his
chose to employ the circle walking footwork opponent.
(circular footwork is not the only stepping There are many martial artists who feel that
method used in Pa Kua), the initial idea is to they can hit so hard that one shot is all it will
move out of the way of the opponent's attack. take to defeat the opponent. There are others
However, we do not want to simply run away. who think that they have some special
We want to move in such a manner that we techniques that no one can counter. "Welcome
avoid the opponent's attack while to fantasy island." If your opponent is skilled
simultaneously setting ourselves in a position it will be very difficult for you to ever land
for immediate counterattack. your first shot and it will be even more
Evasiveness in Pa Kua is not about running difficult to land a direct hit with full force.
away from the opponent. It is about closing You must be prepared to continuously attack
with and destroying the opponent as quickly while changing and adapting to the situation.
as possible without meeting force against This ability is expressed in the lien huan
force. We do not want to engage directly. We (continuously linking) skill which was
want to be a bit sneaky about how we close discussed in Chapter 2 of this volume.
with the opponent. We want to use optimum When training to fight, you always imagine
angles of attack and use the opponent's force that your opponent is much bigger, much
against him, but we will do so very efficiently stronger, and at a much higher skill level than
with no wasted movement and we will allow you are. You also must respect Murphy and
no gaps for him to move. This means moving consider that what can go wrong, will go
around his attack, but at the same time moving wrong. Your mind must stay one step ahead of
towards him and inside his defenses. A skilled your body at all times, you use your listening
opponent will immediately take advantage of skill and as soon as you feel how the opponent
any gap in either time or distance you give is reacting to your initial attack, you
him to work with. Your footwork, body immediately change appropriately and
movements, and hand techniques should be continue attacking. The art of Pa Kua Chang is
executed such that the opponent has no time to philosophically rooted in the concept of
react or space to move. change and physically rooted in the footwork
While evading an opponent's attack and and single palm change. Being able to change
instantly delivering a magnificent, fight-stopping directions rapidly with balance, stability, and
counterattack is a dream come true, more times power is the important part of Pa Kua's use of
than not, it is not reality. If the opponent is skilled, the circle walk practice in fighting. Therefore,
he will not let you get away with it. We can also advanced circle walk training is focused on
never forget about Murphy and his laws. If training these components.
something can go wrong, it will go wrong. This is
where having the ability to change direction very You Initiate the Attack
quickly while remaining stable becomes vitally In the second instance mentioned above,
important. that of you yourself initiating an attack, the
37
same principles apply- As we discussed in where we can really do some damage. The type
Chapter 2 of this volume, initiating an attack of bridge which is used will depend upon the
is a three step process: gain a reaction, bridge opponent's initial reaction to the first move. If the
the gap, finish him off. The first step is to gain bridge is successful, then we can follow up with a
a reaction from the opponent. This can be finishing technique. If the opponent is skilled, we
accomplished in any number of ways. This may need to employ several quick, repetitive
can also be viewed as a "set up" or a "jab." but bridging maneuvers before we can get inside on
it is not simply a false ploy. Most of the time him or out flank him. Also, once inside we may
it is a realistic movement which will hurt the need to apply a series of fast, powerful finishing
opponent if he does not respond to it. But we techniques before the opponent is thoroughly
will always assume that he is a good fighter defeated. Once the Pa Kua Chang practitioner
and will be able to successfully counter our gets inside on the opponent, he will continue to
initial movement. stay inside until the job is finished. There is no
The next step is the "bridge." The bridge is bouncing in, striking once, and then bouncing
used to open up the opponent and get inside back out as in sport lighting for points. Once you
are inside, you stay until the job is finished.
Again, it is your footwork that keeps you there.
A skilled opponent is not going to let you
continue hitting him from a vulnerable angle. He
is going to move. Utilizing your footwork, you
stick on the opponent like glue. Were he goes,
you go and you don't let up until the job is done.
Park Bok Nam calls getting inside on the
opponent "opening his door." He says that once
the door is open, you do not let the door close
until you have finished the job.
38
39
1 2
3 4
5 6
40
7 8
9 10
have his students walk the outside of the circle After the student has gained experience walking the
at a smooth steady pace, and then speed up the yin-yang circle utilizing the dragon posture and the
walk when they move through the middle. fan cluing maneuver, he or she will then begin
Varying the pace is good for practicing practicing all of the eight animal postures and learn
combat oriented footwork while maintaining how to smoothly transition the upper body postures
the same smooth, steady pace is good for ch'i from one animal posture to the next. At first the
kung and meditative practice. student will practice the animal transitions in the
Usually, when the students transition to the order which was presented in the first volume of
yin-yang changing practice they notice a this book (i.e., lion, unicorn, snake, swallow,
difference in the way the ch'i moves in the body dragon flying, bear, phoenix, and monkey).
as opposed to the previously practiced changing Later the student will learn how to transition
of direction. In executing this change the energy between any given animal. He or she will
movement is very smooth and continuous practice changing from lion to unicorn, from
because the feet never stop moving and arm lion to snake, from lion to swallow, etc. Because
transitions are very smooth and continuous. there are eight animals, there are sixty-four possible
41
42
1 2 3
4 5 6
7 8 9
43
10 11 12
13 14 15
16 17
44
"figure-eight" pattern around two poles. From changes, varying the footwork patterns, and
there the student will progress to walking a varying the coordination of the body's turning and
double figure-eight around three poles. twisting movements.
Walking in smaller, tighter circles, and changing
Two Or Three Pole Practice directions frequently facilitates the development of
When the student begins to work with the two the k'ou pu and pai pu steps as quick directional
and three pole arrangements, he or she will changes. The ability to apply k'ou pu and pai pu
practice the yin-yang and spiraling patterns as quickly and efficiently not only teaches the
practiced during the one pole training. However, practitioner how to change directions rapidly while
with two or three poles the patterns become remaining stable, it also develops flexibility and
smaller, the footwork tighter, and the movements adroitness in the pelvic region. Additionally, the
more complex. student begins to develop the ability to utilize the
When working with either the two or three pole k'ou and pai steps in quickly hooking and trapping
configuration, the distances between the poles are the opponent's legs (these techniques are discussed
varied so that the student will become in more detail in Chapter 4 of this volume).
accustomed to navigating smaller figure-eights The three pole figure eight circle walking pattern
and larger figure-eights. When working with is shown on the next page. The practice is as
three poles, the distance between each of the follows:
poles will be varied so that the first figure-eight
around pole # 1 and pole #2 might be small and 1) In this sequence we catch Park having just
the subsequent pattern around pole #2 and pole rounded the left outside post and he has entered
#3 might be larger. In addition to the figure-eight the circle going towards the center pole just as in
patterns, the student will also practice small the yin-yang pole pattern footwork. He has just
circles around the various poles in conjunction completed a change of palms by executing a fan
with the figure-eight patterns. In other words, the chang maneuver. See photo 1.
practitioner might execute two consecutive 2) As Park rounds the center pole, he executes a
figure-eight patterns around the three poles, then tight turn around the pole and begins to execute a
execute a full circle or two around pole #1 before fan chang maneuver to change palms once again
continuing the figure-eight pattern. Then the as he heads for the right outside pole. See photos 2
student might execute a large circle around all of and 3.
the poles, execute a standard single change on the 3) Park has now finished the palm change as he
large circle and then go back to the figure eight navigates around the right outside pole. He
pattern. The change which was executed during continues walking a small circle around the right
the spiraling pattern footwork is also employed to outside pole, keeping the right hand forward. See
change directions when the student is practicing photos 4 through 6.
the figure eight pattern. Some of these 4) Once Park has completed the circle around
possibilities are depicted in the diagrams which the outside pole, he will then begin to execute
were shown on page 98 of the first volume of this another fan chang maneuver and head for the
book. opposite side of the center pole. See photos 7 and
In addition to varying the size of the circles and 8.
the walking patterns in, between, and around the 5) Once around the center pole, Park will again
poles, the student will also vary the rhythm of the execute a fan chang and head for the far side of the
practice by changing the speed of his walk. Usually left outside pole and walk the circle around that
the larger outside circle is walked at a slow smooth pole to complete one full lap. See photos 9
pace and then the practitioner will speed up when through 12.
entering the circle and navigating the poles. Varying Once Park reaches the position in photo 12, he is
the patterns and the rhythm gives the student ready to start the circuit again.
experience in varying the timing of the palm
As you might imagine, the combinations
45
1 2
3 4
5 6
46
7 8
9 10
11 12
47
here become endless. Utilizing the changing amongst the "eight animal palms"
standard circle walk around one pole, the that were also practiced during the basic
practitioner now has six different circles to circle walk exercise. By executing these
walk around (one large circle around all movements the student not only becomes
poles, one small circle around each of the familiar with the rapid twisting and turning
three poles, and one medium size circle movements of the body, but he also
around each pair of two poles). In addition becomes familiar with various basic arm
to the standard circle around each of the movements. When the arms, body, and legs
circle sizes listed above, the student can can all be coordinated while the practitioner
practice various combinations of the is navigating the tight twists and turns
yin-yang pattern around any pole or amongst the poles, he will discover many
combination of poles and also incorporate new applications of these basic movements.
the spiraling pattern around any pole. Once the student becomes adept at changing
In addition to utilizing the Jan chang, or amongst the poles utilizing the basic arm
overturning palm movement when navigating movements of the "eight animal palms" he
amongst the poles, the student will also practice will then begin adding striking and kicking
maneuvers to the pole training
practice. The poles are made
from bamboo, rattan. PVC pipe,
or some other flexible material
that is buried into the ground.
The practitioner can kick or
strike the pole and the pole will
have some give to it so that it
absorbs some of the energy of
the strike and bounces back. In
this practice the practitioner will
never stop moving amongst the
poles while simultaneously
kicking, striking, and rapidly
changing directions. Some
poles are kicked, some are hit.
and others are not touched but
evaded as the student
continually moves around the
poles. In this practice, the
student learns to strike while
remaining highly mobile and
learns how to quickly change
and move after a strike has been
applied.
until there are nine poles, one in the center configuration the practitioner is not only
and then eight out to each direction. This is Pa required to navigate among the poles, but a
Kua's famous "nine palace" pole training height variable is added due to the slanting
practice. poles. While walking, circling, and turning the
Many of the schools of Pa Kua practice the student must also adjust the body height to go
nine palace pole method. However, Park under and around the slanting poles. The angle
believes that it is important that the practitioner at which these poles are slanted can also be
develop the pole training in gradual steps by varied.
first starting with one pole, then two poles, then
three, etc. The training should be developed Changing the Poles
step by step. If the practitioner cannot utilize After the student has gained experience
the proper movements when walking around working with the nine pole arrangement and
two poles, he will only become confused if more the tee-pee pole arrangement and all of their
poles are added. As each successive pole is respective variations, he or she is ready to begin
added the student adds a new dimension to a multitude of new nine pole variations. Park
his practice. calls each of these pole variations a "course."
There are many different "games" one can In the practice of the complete method there
play while working the pole training method in are eight different courses each having the nine
order to develop different Pa Kua skills. Some pole arrangement. One course, which Park calls
poles are kicked, some hit, some avoided and the "power course" has thick bamboo that is
the circular pattern is always varied. struck with the palms, elbows, shoulders, hips,
Sometimes small circles are executed; feet, and knees as the practitioner continually
sometimes the circles are bigger; sometimes the employs the footwork patterns maneuvering
figure-eight pattern is utilized; sometimes a around the poles. All of the movements on this
spiraling pattern is employed; sometimes the course are very expressive and powerful.
speed of the footwork is varied; sometimes the After transitioning through this course, the
practitioner walks smoothly and steadily to student will move on to another course which
build ch'i; the height of the stance is also varied. will have the standard nine pole arrangement.
All possible variations are explored. Here the student practices all of the walking
When Park was practicing the nine pole and changing in a very smooth, continuous
method with his teacher, Lu Shui-T'ien, Lu had manner to build ch'i. The character and
tied a small rope to the top of each of the attitude of this course is balancing the powerful
bamboo poles. As Park was circling, moving, expressions of the previous course.
and navigating amongst the poles Lu would pull Another course will have thin bamboo with
on one of the ropes and one of the poles would both vertical and slanting poles that are never
shake. When Park noticed a pole shake he to be touched as the practitioner moves around
would immediately have to move in and attack the nine poles utilizing various footwork and
the pole that was shaking. There are many palm changes. Movements such as "swallow
such variations that can be practiced with the penetrates through the forest" are emphasized
nine palace pole training. in this course. Other pole arrangements are
placed in areas of rough terrain with various
The Tee-Pee Pole Arrangement sized stones placed randomly around the
The pole training practice in Park's system course. Here the practitioner must navigate
does not end with the nine palace pole the poles while walking on the stones.
arrangement. After the student has become In practicing each of the eight courses, the
familiar with working the nine poles, he will student can experiment with all of the variations
then remove the center pole and slant the four we have discussed thus far in terms of the form
side poles in towards the center, thus forming movements and walking patterns. The theme
a tee-pee shape with these poles. Utilizing this of each course is such that after practicing all
49
Conclusion
In the application of Pa Kua as a fighting
art the practitioner must learn how to be highly
mobile and evasive while at the same time
moving in and continuously attacking the
opponent. Evasion in Pa Kua does not mean
running away or escaping an attack. It means
avoiding the opponent's force and strength
while simultaneously counterattacking at the
most efficient angle and then continually
changing so as to maintain those efficient
attacking angles until the fight is over. The
advanced circle walking practice as described
above helps the practitioner begin to develop
this ability.
50
Chapter 4
Pa Kua Chang Body Training
51
Chapter 4
Pa Kua Chang
Body Training
In the last volume of this book, we presented a outlined in the last volume of this book, all of
number of body training exercises which were these exercises will serve as component parts of
designed to begin to develop the student's body in the various single palm change maneuvers of
terms of basic flexibility, balance, stability, and Park's system performed while both executing
coordination. These exercises are a necessary part straight line footwork maneuvers and while
of Park's Pa Kua Chang system for several walking the circle. If the student has not spent
reasons. The first is because the exercises begin time practicing these exercises hundreds of times
to help the student open up the body in the area of in repetitive body training drills, his or her
the spine, hips, rib cage, and shoulders. It is execution of these movements in the circle
critical to health maintenance, Pa Kua Chang walking forms will be stiff, uncoordinated,
application, and power development that these unnatural, disconnected, and lacking in proper
areas of the body be supple, relaxed, and flexible energy flow and intention.
beyond "average" ranges of motion. In this chapter, we will first present one more
Gaining an increased degree of suppleness and important static exercise, which is a companion
flexibility in the areas of the spine, hips, and to the fan chang exercises that were presented in
shoulders also aids in the balanced, smooth flow the last book. After this exercise, which is called
of energy in the body. Practicing exercises which the "hiding flower under leaf" exercise, is
challenge the flexibility and range of motion of presented, we will combine this exercise with the
the joints while breathing naturally and smoothly "white snake coiling its body" posture, which
and maintaining a focus on the movement of the was demonstrated in the last volume, with a k'ou
palms, greatly increases the energy movement in pu and pai pu footwork drill that was also
the body and also develops the practitioner's presented in the last volume of this book. Once
awareness of this energy. By practicing exercises the student has experience with all of these body
such as the three fan chang exercises, and the training and footwork drills, he or she is ready to
"scooping moon from sea bottom" exercises, in a start to put these components together in the
slow, smooth, repetitious manner with the mind, execution of the single palm change. In this
body, and breath coordinated, the practitioner chapter we will also take a look at the single palm
gains great physical and mental benefits and lays change and some of its numerous variations.
a strong foundation for future development in the Those readers who have spent time with the
art. body training exercises, the k'ou pu and pai pu
Another reason why these exercises are exercises which were presented in the last book,
important in Park's system of Pa Kua is that after and the "hiding flower under leaf" exercises which
these exercises are practiced as static drills, as are presented in this book, will have a very easy
52
time with the half dozen single palm change movements might be applied in combat. They
variations which are presented in this chapter. In first have time to think about it on their own and
addition to the single palm change variations then they get together with a partner to research
presented in this chapter in photograph form, we their ideas and see if they work in partner practice.
will also discuss numerous other variations of the After they have what they think are workable
single palm change that can be built from the applications, they perform them for the class and
basic body training exercises. To the student who everyone critiques their application looking for
has not spent numerous hours with the body adherence to Pa Kua Chang principles. Was the
training exercises, all of these single palm change distance and angle optimal? Could the timing
variations will seem awkward and hard to learn. have been better? Was the power expression
For the student who has put in his or her time applied at the right angle and at the right time and
with the basic prerequisite body training drills, all from the right body alignment relative to the
of these changes will seem very natural. opponent? We examine all of these principles as
After gaining a foundation with the body a group and the student then learns how he or she
training exercises and seeing how they can be can improve the application.
combined as component parts of the single palm In going through the learning process
change variations, the student will then have an described above, the students begin to learn how
arsenal of at least one dozen different single palm to apply the principles they have been taught. If a
change maneuvers to practice. This is how Park's student creates his or her own expression of the
Pa Kua Chang system is built. Basic exercises are art and can invent workable applications without
practiced until the student develops an being spoon fed answers by the teacher to "what
understanding of the movements and energy of would you do if" or "how is this applied" type of
the exercise, and then the movements of the questions, the student will be able to continue to
exercise are combined with circle walking, k'ou grow in the art even when the teacher is not
pu and pai pu footwork, and the body around.
movements of other exercises, footwork drills, People always ask me if Park has "a Pa Kua
elbow and palm striking combinations, and kick Chang form" that he teaches. When I respond
sets to produce an abundance of form movements that Park really has an unlimited number of forms,
and variations. the person asking the question becomes confused.
In my school, after the students have trained the Hopefully our presentation of the single palm
basic body training exercises and have been change variations in this chapter will clear up
presented one or two versions of the single palm some of that confusion. Park's Pa Kua Chang is
change and their component parts, (the "turn designed from fundamental exercises which act
around," "winding, and "unwinding" as presented as interchangeable building blocks in the
in this chapter) I give the students a homework execution of numerous "forms."
problem. I tell them to research the single palm Park wants his students to get away from the
change and, based on the exercises they have mind set that there is just one Pa Kua form and start
learned thus far in their training, come up with to think about how the principles of Pa Kua can be
six different variations of the single palm change. applied to an endless number of movement
After they have an understanding of the sequences and variations. Park would much rather
principles of the single palm change, most the student invent his or her own form, which is
students can easily come up with six or more built from component parts of his Pa Kua system
variations which adhere to all the principles. In and expresses the principles of Pa Kua Chang, than
having to put the pieces together on their own have to teach a given set of form movements to a
and create their own expressions of the single student and call that "the" form. Instead of a student
palm change principles, each student gains a asking Park if he or she could learn a new Pa Kua
better understanding of Pa Kua Chang. Chang form, Park would much rather have
After the students have created their own the student say, "I've invented this Pa Kua
single palm change variations, they are then form based on what you have taught me, could
required to come up with their own ideas about you take a look and see if it adheres to all of the
how these
53
principles?" This student is now learning the art his students to be able to express Pa Kua Chang
of Pa Kua Chang. in a free style manner and improvise the "forms"
There is a famous saying in China which both based on all of the component parts of circle
Park and his teacher have used frequently. It says walking, body training, elbow training, kick
that "if the teacher says 'one,' the low level training, and palm training that they have been
student will repeat 'one,' the intermediate student taught. This free style practice is mostly executed
will figure out 'two,' but the advanced student during the "pole training" phase of development,
will know how to count to ten." Park is very which is discussed briefly in the circle walking
happy if he can give a student one component chapter of this book.
part of the system and the student can take that Park's approach to teaching Pa Kua Chang is
part and figure out numerous useful ways to different than most because he demands that the
employ that part without having to be told. If the students understand the principles of Pa Kua and
student never understands how to research and create their own expression of those principles.
discover things on his or her own, Park's When a student asks Park about an application to
comment about that student is, " Every time, I say a movement, Park is most likely to say, "You
'one,' he says 'one.' He can never figure out 'two.'" think about it and show me." He wants his
In Park's mind, Pa Kua Chang is based on students to think, not just mimic. He wants the
principles of movement, not "forms." Once the student to understand what he or she is doing, not
practitioner understands the principles and has just copy and repeat. Park's adage is that "The
experienced a sets of basic movements which are teacher is only a guide, you have to teach
based on those principles, the number of forms yourself through hard practice and research if you
one can invent on the spot are endless. Asking a really want to learn." Park believes that if the
Pa Kua Chang practitioner in Park's school to student always relies on the teacher, he will
"show you their Pa Kua form" would be like always be practicing the teacher's art. If the
asking a jazz band to "play you their one song." student creates his own expressions of the
The jazz musicians feel their music and can jam principles the teacher has taught him, then the art
on an endless number of "songs." Park wants his is his own to keep and he will always progress. It
Pa Kua students to be able to do the same with is much more difficult to learn this way. However,
their Pa Kua. Park wants his students to in the long run the students come out way ahead
understand the art of Pa Kua Chang, not the because they learn to think for themselves and
choreography of Pa Kua Chang. they learn how to be creative.
Park does teach several different ch'i kung and Of course, Park is not nearly as severe as his own
combat circle walking forms to beginning and teacher was in his approach to teaching this method.
intermediate level students. There are forms When Park would ask his teacher a question which
which are based on the "eight animal" postures; his teacher thought Park should be able to figure out
there are forms based entirely on the single palm for himself, his teacher would strike him with his
change; there are forms which combine the single cane and say, "What do you have in your head?
and double palms changes; there are forms which Only water! Shake your head back and forth, let me
combine all eight of the "forty eight" month listen to the water in your head." Park would shake
palms; there is a circle walking form which his head and his teacher would say, "Doesn't sound
focuses on elbow work; there are forms which like water. I think it is rock. You have nothing but
add the elbow sets in combination with other rock in your head!" Park would get the unsubtle hint
things. There are many forms. However, Park will and go back to the practice area to try to figure out
usually only teach each student four or five of the answer to his question on his own. Later, Park
these forms. This is just to give them an idea of would show his teacher what he was able to figure
how Pa Kua Chang components might be put out. If he had not quite got it correct, his teacher
together. All of the forms that he teaches are built would say that he still had rocks in his head and
from component parts of exercises and drills the Park would go back to the drawing board. If Park was
student has already practiced. Later, Park wants all able to figure out a viable solution, his teacher would
54
Hiding the Flower Under the Leaf Exercises
The "hiding flower under leaf" exercise is back and neck. The "hiding flower under leaf"
performed in the same manner as the three fan exercise is a nice follow-up to these exercises because
chang exercises which were presented in the last it works the twisting action of the entire spine from the
volume of this book. In fact, it is usually practiced bottom of the spine all the way up to the neck.
as a forth exercise in the fan chang series. The Because of the arm positioning, this exercise also
student practicing this series will transition directly provides a very good stretch across the upper back
from the t'ien fan chang exercise to the "hiding and mid back regions and the outer shoulder.
flower under leaf" exercises. The exercise is executed as follows:
If you recall from the body training chapter of the 1) The feet and knees are held together as in the
last volume, we said that the straight fan chang fan chang exercises. The knees do not press
exercise primarily worked to stretch the low back, together, they are just held together in a natural
the circle fan chang exercise worked the mid-back, manner. The right hand is held out in front of
and the t'ien fan chang exercise worked the upper the face and the left hand is held under the right
55
1 2 3 4
5 6‐front view 6‐rear view
Hiding Flower Under Leaf Exercise
A B C
To change from Tʹien Fan Chang, add these three postures in front of Photo 1 above
56
elbow. The hand position is the standard "dragon The Moving "Hiding Flower
posture" arm position that was explained in the Under Leaf" Exercise
last volume of this book. See photo 1.
2) Begin to turn the lower palm to face After you have gained some experience with the
upward and the upper palm to face downward as static "hiding flower under leaf" exercise as
you twist your body to the right. The eyes follow described above, you are now ready to combine
the lower palm. As in the fan chang exercises, this exercise with the k'ou pu and pai pu footwork,
you will exhale when you are turning to the rear the "white snake coils its body" k'ou pu posture,
and inhale as you are changing sides across the and the "giraffe" pai pu posture which were
front. See photo 2. presented in the first volume of this book. The k
3) Continue turning as far as you can to the 'ou pu and pai pu footwork you will execute in this
right. Look over the right shoulder at the palm of exercise was presented on page 104 of the first
the left hand. The left palm extends out from the volume and was called the "intermediate k'ou pu
armpit toward the rear as far as possible. The and pai pu stepping pattern."
right palm remains about shoulder height and Execution of this exercise serves several purposes.
slightly out away from the body. Relax the right First is upper and lower body coordination. In
shoulder. See photo 3 and the rear view of photo executing the turning and twisting motions of the
6. body in conjunction with the k'ou pu and pai pu
4) Execute a fan chang maneuver as in the footwork, the practitioner will gain experience in
straight fan chang exercise .Both palms turn to coordinating the upper and lower parts of the body
face upwards as the body begins to twist back to in the execution of complex motions.
the front. See photo 4. The second purpose of this exercise is an increased
5) As the left hand begins to come around to flexibility. As discussed previously, the "hiding
face the original forward direction, it begins to flower under leaf" motion is ideal for stretching
turn to face downward and the right palm begins the spine, hips, and shoulders. When this twisting
to insert under the left elbow as the body begins of the upper body is combined with the k'ou pu
to twist to the left. See photo 5. and pai pu footwork, all the joints of the body are
6) Twist the body as far as possible to the left twisted through a full range of rotational motion.
with the eyes following the right palm as it This flexibility helps to build the foundation for
extends to the rear. You are now executing the the turning and rotating power which is associated
exercise on the opposite side to complete the first with Pa Kua Chang application. The third purpose
full repetition. See photo 6 (front and rear). of this exercise is to train the student to develop a
You are now ready to turn the body back to the strong sense of balance and stability around the
right and execute the next repetition of this center of the body. In Pa Kua Chang, if the student
exercise. cannot twist and turn rapidly around his or her
The sequence described above is the exercise body's central axis, he or she will be off balance in
performed as a set by itself. If you would like to executing many of Pa Kua Chang's characteristic
tack this exercise on to the end of the t'ien fan applications. As the student becomes familiar with
chang exercise and thus perform this exercise in the exercise and begins to execute it faster and
series with the three fan chang exercises, the more fluidly, he or she will begin to develop a
photos at the bottom of the previous page indicate keen sense of the central axis of the body and how
how this is done. From the last t'ien fan chang the hips, shoulders, and limbs can be rotated
movement (see photo A), execute a straight fan around that center in the application of power
chang back to the front (see photo B), and you moves.
will now be in a position similar to that of photo Finally, this exercise prepares the student for
1 (see photo C). From here begin to execute the learning the single palm change movement
"hiding flower under leaf" exercise as described which is the fundamental building block of all Pa
above. Kua Chang circle walking combat forms. As we
have
57
stated previously in the first volume of this under leaf" posture (hereafter referred to as
book, it is always good for the student to the "hiding flower" posture). The left foot
practice exercises which challenge the body in steps around into k'ou pu.
terms of coordination, balance, flexibility, and The body continues to wind as far as possible
stability in an overemphasized nature before as in the previous "hiding flower" exercise.
they learn the more subtle movements of the Although the k'ou pu is facing outside the
art. If they can execute the overemphasized circle, the body turns such the Park's upper
movements, they will certainly have no body faces the center of the circle. See photos
trouble, in terms of flexibility, balance, and 4 through 6.
coordination, with the movements which 4) From the "hiding flower" posture, Park
follow. After executing hundreds of begins to unwind his body and transition into
repetitions of the fan chang exercises, the k'ou the giraffe posture as his left foot executes a
pu and pai pu footwork drills, basic circle 135 degree pai pu step. See photos 8 through
walking, and the "hiding flower under leaf" 10.
exercises, the student will have no problem 5) From the giraffe posture, Park keeps the
executing a smooth, fluid, balanced, and left foot stationery and steps into a k'ou pu
powerful single palm change. We find that with the right foot. At the same time he
students who try to execute the single palm transitions into the "white snake" posture with
change without a background in these other his body facing the center of the circle. The
drills, struggle with the practice, looking very eyes follow the upper hand in this posture. See
awkward and uncoordinated. photos 11 through 14. From here he continues
The next exercise, which we will call "the stepping in this manner continuing around the
moving hiding flower under leaf" exercise, is circle.
executed as follows:
The opening to this exercise is exactly like the
opening for the single palm change exercise
which was presented on page 91 of the first
volume of this book. Instead of turning to
walk the circle after photo 12, the practitioner
will pai pu and step into the giraffe posture.
From that point, the practitioner steps into the
"white snake coils its body" posture (here after
referred to as the "white snake" posture) as
shown in photo 1 on the next page.
1) Park starts in the "white snake" posture.
See photo 1. His feet are in the k'ou pu
position as shown in the footwork illustration
on page 104 of the last volume of this book.
From here his footwork pattern during the
remainder of this exercise will follow that of
the illustration shown on page 104 and the
explanation on page 103 of the previous
volume.
2) Park begins to take a pronounced pai pu
step (approximately 135 degrees). At the same
time he unwinds from the "white snake"
posture and transitions to the giraffe posture.
See photos 2 and 3 on the next page.
3) With the right foot remaining in place,
Park begins to wind into the "hiding flower
58
1 2 3
4 5 6
7 8 9
The Moving Hiding Flower Under Leaf Exercise
59
10 11 12
13 14
The Moving Hiding Flower Under Leaf Exercise (con’t)
60
The Single Palm Change
Every complete Pa Kua Chang method called the "mother palms" the "nei kung" palms
embraces a systematic approach to practice. The or the "ch'i kung" palms, are the foundational
practitioner who engages in the repetitive practice static upper body postures which are held while
of fundamental skills for hundreds of hours the practitioner is practicing the circle walk.
before attempting more complex, intricate, or These postures are designed to train certain
subtle skills, will always find that the solid structural alignments while the practitioner is
foundation enables continued growth and walking the circle. The upper body is held static
development in the art. At the root of almost while the lower body is continuously moving. In
every Pa Kua system there are several key the practice of holding these eight palms the
elements of training which should be thoroughly practitioner trains structural strengths, internal
practiced and experientially understood prior to body connections, internal/external body
progressing to more advanced training. These integration and harmony, development and
components are: circle walking, some variation awareness of muscle groups not usually under
of the eight "mother" palms (Park's "eight conscious control, tendon strength and
animal" palms), the single palm change, and the conditioning, and joint opening and suppleness in
double palm change. These could be considered each of the eight postures that are held. Again,
the "four pillars of Pa Kua Chang." the exact postures will vary from one Pa Kua
system to the next. Each system of Pa Kua will
The Four Pillars of Pa Kua Training have its own version of these palms. Park's
expression of these palms was covered in the
Thus far in these two volumes most of the previous volume of this book.
exercises and drills that have been presented in In Park's system of Pa Kua, after the student has
the footwork and body training chapters have gained a basic foundation in the practice of the
been building blocks which lead the student to eight animal circle walking as presented in the
the execution of the single palm change, one of last volume, he or she will gradually execute
the four main components of every Pa Kua more advanced change of direction maneuvers
Chang system. Below we will briefly describe the when switching form one animal to the next.
"four pillars" of Pa Kua Chang. Later this practice will be combined with the pole
Circle Walking: Circle walking provides training which is described in the circle walk
numerous physical and mental benefits for the chapter of this volume. In this training, the
practitioner in terms of health, longevity, body practitioner will first learn how to execute the yin/
strength, stamina, coordination, balance, ch'i yang circle walking around one central pole
cultivation, calming of the mind, mental while changing from one animal to the next in the
concentration, mobility in combat, body/mind same sequence presented in the first volume of
unity, and acquiring the skill of "stillness in this book. That is, they will change from lion, to
motion." The basic circle walk practice of Pa Kua unicorn, to snake, to swallow, to dragon flying, to
was presented in the first volume of this book and bear, to phoenix, to monkey. Later they will learn
was then covered in more detail in Chapter 3 of how to change from one animal to all of the
this volume and so we will not discuss it further others while executing the yin/yang circle
here. Each system of Pa Kua will have its own walking around one pole. After the student has
requirements for basic circle walk practice and, learned these 64 combinations of changes, he or
like anything in Pa Kua, there exist a multitude of she will then expand the practice to two poles,
variations on the theme. three poles, four poles, etc.
The Mother Palms: The eight animal palms, also In learning how to change from any animal
61
posture to another in a smooth and fluid manner, the single palm change. The added complexity
the student is ingraining a multitude of possible helps the practitioner take the lessons learned from
Pa Kua applications. Most of the applications the practice of the single change and carry them a
which come directly from the eight animal step farther. Additionally, whereas the single palm
movements are either bridges which are used to change taught the practitioner to change the body
open up the opponent, chin na locking techniques, energy, power, and focus from one side to the
or throwing techniques. However, there are also other, the double palm change teaches the
striking techniques which combine the eight practitioner how to divide the strength and power
animal movements with the mechanics and to both sides at the same time. The mechanics of
power of the forty eight month palms. developing power, energy, and awareness in a
The Single Palm Change: The purpose of balanced manner to both sides of the body at the
training the single palm change is primarily to same time also takes the training to a new level.
learn how to change power, strength, energy, The practitioner begins to learn the principle of
awareness and mental focus from one side of the extending power to have it arrive at the four tips
body to the other while remaining centered, simultaneously. This is a important concept in
stable, and balanced. In fighting, the basic single developing internal power. The classic writings of
palm change is primarily used to change direction both Hsing-I and Pa Kua advise the student to
quickly, accurately, and appropriately in response learn how to extend power to the four tips (hands
to an opponent's movement. The single change and feet) simultaneously in order to develop whole
can be used to change from any posture to body, coordinated strength.
another, or from any situation to another. In most systems of Pa Kua Chang the single palm
There are literally hundreds of ways to execute change and the double palm change are practiced
the single palm change. Its execution in practice separately from the other form sequences. In other
aids the practitioner in learning how to change words, they are not a part of any one of the
strength, power, and awareness from one side of system's eight sectional forms, but form the
the body to the other, develops central foundation for those forms and are practiced
equilibrium, coordinates the upper and lower separately before the other form sequences are
body, trains whole body "twisting power," and learned. In fact, many systems of Pa Kua have
teaches execution of coordinated rotational developmental eight section forms which are
motion for use in both offensive and defensive made up entirely of variations of the single and/or
action. Additionally, it develops the ability to double palm change movements. The first few
maintain consistent mental focus when shifting combat forms students in Park's system will learn
the awareness from left to right or vice-versa. In are made up entirely of single and double palm
Park's system the single palm change is present in change variations.
a multitude of variations by combining its basic In other Pa Kua systems the single palm change
components with the movements of the eight and the double palm change will be the first two
animals, the forty eight month palms, the elbow sections of their first eight section circle walking
sets, and the speed combinations. All of the form. In all systems of Pa Kua Chang the single
aspects of the single palm change will be palm change and the double palm change
discussed in detail in this chapter. (although they may be called different names) are
The Double Palm Change: The double palm the basic building blocks upon which all other Pa
change movements will develop many of the Kua movements are placed.
same components as the single change, but it If the Pa Kua Chang student spends a
serves to add a bit more complexity to the considerable amount of time studying Pa Kua's
changing of direction and it involves a division of circle walk practice, eight mother palms, single
body power, strength, awareness, and mental palm change, and double palm change and gains
focus to both sides of the body at once. In most a solid experiential understanding of these
systems of Pa Kua, the double palm change movements and their underlying principles, he or
movement sequence is a bit more complex than she will have developed a very solid foundation
62
in Pa Kua and will be able to easily assimilate all movement; the body alignments associated with
aspects of Pa Kua training. all of the sequences, gestures, and posturing of
Before we begin to present some of the the movements; the mechanics of the motion
variations of the single palm change which are which will provide efficient execution, natural
practiced in Park Bok Nam's system of Pa Kua strength, and subtle power; the internal and
Chang, we will first discuss some ideas about external body connections, the structure, and
how all Pa Kua Chang movements and harmony of the movements; the timing of the
techniques might be approached. movements and the rhythm of the movement
sequence; the energetic flow, smoothness in
The Study of Pa Kua Chang transitions and fluidity of the movements; the
Movement mental intention and focus of each movement
and the overall sequence; the harmonious use of
As we have pointed out previously in this book, breath in the movements; and examples of
Pa Kua Chang is an art of principle. It is not an possible combat applications of the movements.
art of choreography, it is not an art of technique, Principles of Movement: After the study and
it is not an art of "form." This does not mean it practice of the physical movement or sequence of
does not have choreographed sequences, movements has been thoroughly researched as
techniques, or forms. This means that all of these outlined above, the practitioner should then turn
things are rooted in theory and principle and thus his or her attention to a study of the overall
there is an almost unlimited potential for principles associated with the sequence. One
variation in technique or form as long as the should ask, "What is this sequence of movements
technique or form adheres to the underlying trying to teach me in terms of body mechanics,
principles or energies of the movement being power generation, and martial application?"
studied. Therefore, in examining, researching, or Taking the single palm change as an example,
training the moves of Pa Kua Chang, one should after the student has spent time practicing the
try to capture the principles of body motion, the proper execution of the sequence, he or she
internal harmony associated with the motion, and should step back and say, "What am I really
the energy movement inherent in the motion, not doing here?" Brainstorm and make a mental list:
simply memorize a sequence of physical motions. "I'm changing direction, I'm changing my power,
While components of body alignment and strength and awareness from one side of my body
mechanics are always important concepts to to the other, I'm exchanging my lead and rear
grasp in any motion, the underlying principles hands, I'm developing rotational power around
become far more important once the body my body's center, I'm developing the ability to
alignments, connections and mechanics are maintain constant strength, power, awareness and
understood. concentration while changing direction, the
In the study of any Pa Kua Chang motion, some rotational movement of my body around its
of the components the practitioner wants to try to center extends into a rotational movement of my
grasp are: the rudiments of the physical arms around their center axis and circular paths
movement, the energy or principles conveyed in of movement of the hands, etc."
the movement, and the adaptations or variations After thinking about what the specific
of those principles, this allows for an unlimited movements are and how the power is being
expression of the art form. developed and how the balance and stability is
being maintained, the student can then start to
Physical Movement: In the study of the think about how these movements might be
physical movement, the student will be first applied in a fighting situation. He or she thinks
interested in simply learning the "form" of the about the relationships of these movements and
movement. This study would include the movements of an opponent. Ask yourself,
components such as the proper sequence of "How can I execute these movements in a martial
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64
and personal training agendas. As Sun Lu Tang Although there are a large variety of single
said in his book Pa Kua Ch'uan Hsueh, "There is palm change movements (many of which will be
a central idea. Merely practicing is not discussed later in this chapter), there are some
understanding. Seek to understand the human consistencies in the execution of this maneuver
ability. Study diligently for deep ideas. The result which serve to define it. In examining a variety of
after a long time is that one is able to know." single palm change motions we can recognize four
Those who do not learn how to research the main characteristics which appear to be common
principles and vary the motions according to among all varieties of the single palm change
circumstance will always be simply following movement. They are as follows: the yang palm
choreographed form routines without any real changes to become the yin palm and vice-versa,
understanding of what Pa Kua Chang is about. the practitioner's path of motion changes direction,
They will always need an instructor to tell them the general mechanics and power of the motion
how to think, how to practice, and how to apply involve a rotational movement around the center
the art. Their art will never belong to them and line of the practitioner's body (this includes center
they will always be on the fringe of line of the torso, center line of the arms, and center
understanding. A Pa Kua stylist is a master of line of the legs), and the k'ou pu and pai pu foot
varying and changing appropriately to fit any maneuvers are employed in some manner. These
circumstance, not someone who is good at characteristics define the single palm change and
mimicking choreography or mindlessly repeating give the practitioner a basis for variation of this
standardized competition routines. method.
Similarly, in seeking to define the "Double Palm
The Definition of Single Palm Change Change" movement we notice that in the
execution of this maneuver the palms are changed
By definition, "Single Palm Change" simply and then both palms are applied in unison. They
means that in executing a maneuver, the palm could both be applied in the forward direction, in
that was originally the active palm, or yang palm, the downward direction, one up and one down,
changes and becomes the inactive or yin palm. one back and the other forward, both to the
Additionally, in executing the palm change, the backward direction, etc. As long as the body's
practitioner will change the direction of forward energy and movement is split between right and
motion (at times this change may be very slight). left simultaneously and equally in the execution of
With the change of the yang palm also comes a a maneuver, this maneuver can be called "double
shift in the practitioner's energy, power, focus, palm change."
awareness, and intention from one side of the Practitioners and instructors who understand
body to the other, from one palm to the other, that Pa Kua Chang is an art of principle and not
and/or from one direction to another. one of choreographed form routines will be able to
The variations on the single palm change execute dozens of variations of the single and
theme are endless. The change can be simple, double palm changes because their idea of the
complex, high, low, inside, outside, left, right, single or double palm changes is that which is
fast, slow, big, or small. The change can occur defined by principle, not form.
from any given posture or position to any On one occasion I attended a seminar given by
other given posture or position. Each complete Park Bok Nam in Maryland. One of the seminar
school of Pa Kua will have many various participants asked if Park could execute "his
ways of executing the single palm change and style's version of the single palm change." Park
the execution of the single palm change will was confused because to him the single palm
also vary from school to school. Practitioners change is a principle, not a sequence of
who believe that there is only "one way" to choreography. Park's reply was that there were
execute the single palm change are severely many ways to practice the single palm change.
limiting their practice and their understanding He was very hesitant to go out and demonstrate
of Pa Kua Chang. any given one of them because he did not want
65
the seminar participants to think that the single beginning level circle walk practice in Park Bok
palm change was this one sequence of moves. Nam's school.
Park said, "This single palm change, this is a Park believes that the beginning student should
principle, not a form." practice a very simple change of direction like
this one before more complex single palm change
The "Form" of Single Palm Change maneuvers are practiced. Park's entire training
method is based on first learning and becoming
In defining the general motions of the single palm proficient at simple methods before moving onto
change in the last section, we gave an idea about more complex sequences. As a practitioner
how this move might be executed. In this section develops in Park's system, the single palm change
we will discuss numerous examples of how the maneuvers move gradually from the simple
single palm change sequence might be executed method shown below to much more complex
in an attempt to give the reader an idea of the methods which challenge the students flexibility,
variety which is present in the execution of this agility, maneuverability, balance and
maneuver. Most of these examples will stem coordination.
from the exercises which were presented in the Simple changes such as the one shown below are
"Pa Kua Chang Body Training" chapter of the somewhat characteristic of the Yin Fu styles of
first volume and from the "hiding flower under Pa Kua as Yin Fu style fighting tactics tend to be
leaf" exercises shown in the beginning of this quick and very direct. Of course this does not
chapter. mean that all of their variations of the single palm
A very simple single palm change movement change were simple, many of the training sets
is demonstrated below by Park Bok Nam. This have more complex variations. However, Yin
single palm change was also shown as the style tends to be very direct in applications and
simple change of direction in the circle thus the simple changes were preferred.
walking chapter of the last volume of this
book. As you can see from the photographs, The next execution of the single palm change
all of the single palm change characteristics which we will discuss is demonstrated by Park
are present. The palms change, the body on the page 68. As a reference, we will present
rotates around its central axis, the direction this as a "standard" change with which the others
of forward motion changes, and the k'ou pu will be compared. Following the discussion on
and pai pu footwork methods are employed. this next change, we will present six other single
This execution of the single palm change is palm change variations in photograph sequences
very simple and direct and is used as a and talk about many others.
basic method of changing directions in the
A Simple Execution of the Single Palm Change
66
The Movements of the "Standard" pointing outward) and swings the arm outward
Single Palm Change with the step. He executes this maneuver with the
"giraffe" movement which was discussed in the
Although we are referring to this single palm first volume of this book and was practiced in the
change as the "standard" it is not any more "moving hiding flower under leaf" exercise.
important than any of the others. We are simply When discussing variations of the single palm
allowing this to be our reference sequences change later in this chapter we will refer to this
because all of the component parts of the single segment of the single palm change (as depicted in
palm change are clearly recognizable in this photos 2 through 4) as "the turn around."
expression of the single palm change movement. The arm movements which can be executed
The execution of this single palm change is as during the "turn around" phase of the single palm
follows: change are numerous. For instance, other
common movements to execute with the arms in
1) In the photos shown on the next page, photo during this phase of the single palm change are
1 shows Park walking the circle in the clockwise the "sliding the window shutter to gaze at the
direction. When the practitioner is ready to moon" movement which is described in the
change directions on the circle, the single palm "forty eight month" palms section of the palm
change is executed. training chapter or the "embracing the moon at
chest" move that is discussed in the supplemental
2) In our example, this maneuver begins in palm training section of the palm training chapter.
photo 2 with the execution of a k'ou (hooking) Other variations are discussed later in this
step. In this photo Park's foot is still in transition chapter.
to this step. As this step is taken, the body
begins to rotate around its center line. The lead 4) Next the practitioner will begin to step up
arm begins to come across the front of the body into a k'ou step with the right leg as depicted in
while maintaining a rounded shape. As Park steps photo 5. The body continues to turn around its
into the complete k'ou pu (see photo 3), the lower center as the lower hand comes underneath the
arm comes up under the upper arm. There can upper elbow as in the "hiding flower under leaf"
be many possible variations in the arm exercise shown earlier in this chapter. The upper
movements associated with this first k'ou step. hand is held at about shoulder height with the
In photo 3, Park is using what he calls the palm facing down and the lower hand is held
"panther" posture. In this posture, the lower arm under the upper elbow with the palm facing up.
crosses the upper arm, however, the upper arm When discussing variations of the single palm
extends out farther. A slight variation of the change later in this chapter we will refer to this
"panther" posture is the shih tzu ( ), or segment of the single palm change (as depicted in
"character ten" posture. In this posture the lower photo 5) as the "winding."
arm is held up higher and crossed equally with
the upper arm. In other words, the arms form 5) Next the practitioner begins to unwind the
an "X" in front of the body. It is called the body, change the palms, and execute a pai step
"character ten" posture because the Chinese (as shown in photos 6 through 9). The upper
character ten looks like a cross. A third palm turns to face upward and leads the motion
variation of the arm position held during this as the body begins to turn. Then the bottom palm
phase of the change is the "white snake coils its moves up along the upper arm (palm up) and
body" posture shown on page 74. both arms lift upward as the body turns. As the
body begins to reach the full extent of its turn,
3) From this position, the practitioner continues both palms begin to rotate and then the arms fall
to turn the body smoothly around its center line down into the original circle walking posture on
and executes the pai (swinging) step as shown in the other side. When discussing variations of the
photograph number 4. As the swinging step is single palm change later in this chapter we will
executed, Park turns the lead palm over (thumb refer to this segment of the single palm change
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5 6 7 8
9
68
(as depicted in photos 6 through 9) as "the similar to the change demonstrated by Park on
unwinding." page 66, is a very useful move when evading an
When performing the "unwinding" segment of opponent's attack and maneuvering to outflank
the single palm change, there are also numerous him.
variations one might use. One which is used The pai step and turning of the upper arm which
frequently in Park's system is to execute a t'ien is executed in photo 4 develops the practitioner's
fan chang maneuver here instead of the circle fan ability to coordinate the upper and lower body and
chang which is depicted in the photos. develop a horizontal power which is manifest from
the rotation of the body. In this motion, the upper
The Principles and lower body should move in a unified manner
rotating around the practitioner's center. The
In this section we will briefly describe some of hip/shoulder, elbow/ knee, and hand/foot
the principles that are being trained during the alignments (referred to in the classics as the "three
execution of the "standard" version of the single external harmonies") should always be maintained.
palm change in its three phases: the "turn Additionally, this movement trains the practitioner's
around," the "winding," and the "unwinding." We ability to generate power from the body out to the
will then address several of the possible single hand utilizing the alignment of the body and the
palm change variations which are based on those power of the rotational movement. This being the
principles. case, the importance of coordinating the timing,
alignment, and unity of the upper and lower body in
The Turn Around: The turn around, and its this motion cannot be overemphasized.
associated footwork, is perhaps the most This first "turn around" motion, as depicted in
important aspect of the single palm change in the "standard" change, is usually used as a
terms of training for fighting mobility. The deflection of an opponent's attack. However, as we
practitioner who is interested in training Pa Kua have stated previously, in application the
as a fighting art should learn to execute this turn movements are far more compact. As the
around movement (the k'ou step) swiftly and opponent punches, the overturning of the palm is
fluidly while maintaining stability and balance. used to deflect and "stick" to and slide up the
The first k'ou step, and the associated opponent's attacking arm. The overturning of the
coordination of the upper body motion rotating palm and the sliding motion act to form a wedge
around the body's center axis with this step, are which deflects the punch. Used as a strike, this
the key principles in this maneuver. The key motion is discussed in Chapter 5 during the
element in this move is the swift, fluid, efficient discussion of the "white cloud chasing the stars"
change of direction while maintaining stability palm. As mentioned previously, the "sliding the
and a continuous, connected strength. If there is a window shutter to gaze at the moon" palm or the
break in the fluidity of motion or the whole body "embracing moon at chest" palm could also be
connection and strength, the movement will be used in striking applications during the "turn
awkward, clumsy and inefficient. around" phase of the single palm change.
As one variation, the simple change of
direction and change of palms can be executed The Winding: The winding up of the body is
directly after the k'ou step. If you look at photo 3, demonstrated by Park in photo 5. The principle in
you can see that Park is in a good position to this portion of the change is in learning how to
execute a direct change of palms and change of once again rotate the body around it's center
direction if he were to take a straight step with while maintaining balance and stability. In doing
his left leg cutting through the center of the this the practitioner is also learning how to
circle while executing a piercing palm maneuver generate horizontal power. The degree of the
to change palms (the piercing palm is discussed body turning, or winding, can vary depending on
in Chapter 5). This technique, which would be the experience level of the practitioner or the focus
69
70
which incorporates the piercing palm motion, the and "unwinding" sections of the change as
pierce can either be use as an entry, deflection, or practiced during the execution of the "hiding flower
a strike. under leaf" posture. The winding and unwinding
The unwinding of the body and the uplifting, phase of the following examples will appear to
rotating, and falling of the arms and hands also have been left out because the pronounced k'ou pu
aids the practitioner in developing functional and pai pu movements and the "hiding flower
flexibility in the legs torso, spine, shoulders, and under leaf" winding of the body that were presented
arms. By functional flexibility I am referring to in our last example have been shortened
training which works to stretch and loosen considerably. However, the winding and unwinding
muscles that will need to be supple and loose principles are there in the execution of the fan
during the execution of Pa Kua. It is great if chang maneuver, they are just very subtle. Of
someone can perform the full splits, however, course, as variations to these examples, the
performing the splits is not nearly as functional in pronounced winding and unwinding of the last
Pa Kua as having a loose and supple twisting and example could be added to any of them.
turning movement throughout the whole body,
especially in the pelvic region. There are many Variation #1
individuals who have very limber leg muscles, In the first variation example, we will
however, when asked to stand with their feet and demonstrate what we mean by the subtle winding
knees facing forward and twist their hips as far as and unwinding. The photographs on the next page
they can to one side or the other, they discover depict a single palm change sequence where the
that the muscles in their pelvic region are not so winding and unwinding phases of the exercise have
loose. In Pa Kua functional flexibility involves been omitted except for the subtle rotation of the
twisting and rotating the muscles and suppleness body around its center during the fan chang
in the joints - twisting the legs, twisting the hips, maneuver. The example is as follows:
twisting the torso, twisting the shoulders, and 1) Park is walking the circle in the clockwise
twisting the arms. This is why the series of fan direction. See photo 1.
chang exercises and the "hiding flower under 2) Park now executes the first k'ou pu maneuver
leaf" exercise are so important. Additionally, and changes directions using the " panther" and
these twisting are executed in the single palm "giraffe" postures as in the last example. See
change in a coordinated fashion while photos 2 through 4.
maintaining whole body connection. These 3) Now, instead of moving in to the "hiding
elements are all trained in the single palm change. flower under leaf" posture, Park executes a straight
fan chang maneuver and begins to walk the circle
in the other direction. See photos 5 and 6. In
Variations photo 5, Park is executing a very subtle "winding"
of the body. The hips and shoulders are slightly
Now that we have presented and discussed one rotating to the right as in the previous change,
possible single palm change expression, we will however, the body does not turn near as far and the
use that as a model in discussing variations on the inside foot does not step into k'ou pu. In photo 6,
theme. In all cases we will discuss the variations Park is executing a subtle "unwinding" in that the
in terms of the "change of direction," the body has rotated around its center and is facing
"winding," and the "unwinding" components. back towards the center of the circle.
The first variations we will explore are those One thing to notice here is that Park has lifted
involving the "change of direction" phase of the his inside leg high during the change. This is
single palm change. For simplicity, we have another variation. Instead of stepping straight
included photo sequences of these variations out with the inside foot close to the ground, this
which do not include the pronounced "winding" high lifting action of the leg during the change is
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1 2 3 4
5 6 7
practiced for an application the practitioner However, that change does not include the
might use in sweeping the opponent's leg in a "giraffe" posture during the change. The
throw. In this instance (photo 5), Park could example on page 66 is a more direct
have stepped low to the ground or lifted the leg expression of the change. This more direct
in a crisp motion which is coordinated with the expression could include numerous variations.
turning of the body and changing of the palms. For example, from the position shown in
The low footwork is executed in application photo 3 above, instead of executing the
when the practitioner is using the fan chang straight fan chang and changing into the
phase of the single palm change to open up the standard "dragon" posture (photos 5 through
opponent's defenses and get inside. The twisting 7), Park could have transitioned into an one of
of the body, overturning of the hands, and crisp the eight "animal" postures as presented in the
lifting of the leg is executed in close to the last volume on pages 189 through 198.
opponent's body in the execution of a throwing Other variations can also occur from the
technique. position shown in photo 3. One change students
Another thing to notice here is that this change in Park's school will learn is to step into the k'ou
is very similar to the change shown on page 66. pu shown in photo 3 and then execute three
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5 6 7
upper hand releases the opponent's forearm and thrown on the ground.
rides up his arm to jab him in the throat with the
fingers of the upper hand. In this position (photo 3) Variation #3
the practitioner's body is very close to the The next two variations of the "turn around"
opponent's body, the practitioner's foot has hooked are based on the "scooping moon from sea
around the opponent's lead foot, and the bottom" exercises which were presented in the
opponent's head is moving back after he has been first volume of this book. The first is executed
jabbed in the throat. At this point, the as follows:
practitioner's upper arm grabs the opponent's arm
at the crook of the elbow as the lower arm comes 1) Park begins by walking the circle in the
across the opponent's chest (giraffe movement) clockwise direction. See photo 1.
and the foot sweeps out the opponent's leg in the 2) Park steps into the k'ou pu of the turn
execution of a throw. This application can be around and then brings the upper hand to
executed very fast and in a matter of seconds block across the face. See photos 2 and 3.
the opponent has received two elbow strikes to 3) The upper elbow comes down to block in
the ribs, fingers jabbed into his throat, and he is front of the right ribs. See photos 4 and 5.
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5 6 7 8
9 10 11
Single Palm Change Variation #3
75
4) The fingers of the right hand turn under to pushing to the rear. See photo 6.
face away from the body and spear through. See 5) From the low position shown in photograph
photo 6. number 6, Park will push off of the back leg and
5) As the hand spears in the direction of the turn the palm over as the body comes up. Notice
change, the body follows by turning. See photo that there is a straight line from Park's back foot, up
7. his leg and spine. A common problem beginners
6) The body makes a quick turning motion run into in this motion is to allow the upper body to
which comes from the back foot, up the leg, the bend forward as the body comes up. This breaks the
hips, the shoulders, and out to the hand in the body's alignment and energy flow. See photos 7
execution of the palm turning over. This is a and 8. The entire sequence from photo 3 to photo
whole body motion and a very important 8 is performed very fluidly in a swift "swooping"
coordination to comprehend in the execution of type of motion. There should be a very smooth
this phase of the movement. See photo 8. and swift transition across the body in the low
7) Begin to execute the fan chang maneuver posture. The practitioner swoops down with the
to change palms. See photo 9. weight all coming down on the left leg, then the
8) Execute the fan chang and continue weight is immediately transferred across to the right,
walking in the counterclockwise direction. See by a pushing motion from the left leg, as the body
photos 10 and 11. begins to raise up and turn and the palm rotates.
This movement is sometimes referred to as
As always, the practitioner has the option of "swallow skims the water."
executing the "hiding flower under leaf" 6) Park begins to execute the fan chang
maneuver after reaching the position shown in maneuver to change palms. At this point, the
photograph 8. This motion has numerous useful practitioner could transition into a k'ou pu and
applications, most of which block an opponent's perform the "hiding flower under leaf" posture.
strike and then use a wrapping motion to Executing the "hiding flower under leaf" posture
"snake" inside of the opponent's defenses. at this juncture is very good on the legs because it
is difficult to transition smoothly form the low
Variation #4 scooping, extended body position of "swallow
This next variation is the same as the last except skims the water" directly to the "hiding flower
that the low "scooping moon from sea bottom" under leaf" posture. See photo 9.
is executed. This is known as a "lower single 7) Park executes the fan chang maneuver and
palm change." This variation is executed as begins walking the circle on the other side. See
follows: photos 10 through 12.
1) Park begins by walking the circle in the This expression of the single palm change is very
clockwise direction. See photo 1. useful in opening up the hips and groin areas as
2) Park steps into the k'ou pu of the turn well as stretching the legs. In applications, this
around and then brings the upper hand to block palm is useful in throwing larger, taller opponents
across the face. See photos 2 and 3. by cutting away their legs. Park says that one rule
3) From here the fingers of the upper hand of thumb to follow in fighting a tall opponent it to
turn in and the hand begins to shoot down by the take away his legs.
side. See photos 4 and 5.
4) The right hand continues to extend down the Variation #5
right leg, traveling along the leg with the palm In the next variation of the single palm change,
facing upward as Park shifts his weight down on the "turn around" phase of the motion is, in a
the left leg. The left hand is placed by the left sense, combined with the "winding" phase of
ribs with the palm facing upward. A variation of the "hiding flower under leaf" posture. Instead
this posture would be to have the left hand extend of executing the first k'ou pu movement and
out to the back with the palm facing upwards or an obvious "turn around," the practitioner will
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5 6 7 8
9 10 11 12
Single Palm Change Variation #4
77
transition directly from walking the circle in the Another variation is to execute the "swallow
clockwise direction to the "hiding flower under penetrating through the forest" movement from
leaf" posture. the "hiding flower under leaf" posture during the
Executing the single palm change in this manner "unwind" portion of this movement. This change
is a way of overemphasizing the "winding" also challenges the practitioner's balance and
motion of the "hiding flower under leaf" stability during the unwinding phase of the single
movement. In doing this, the student learns how palm change. Additionally, there are several nice
to better balance his or her turning motions applications of the "hiding flower under leaf"
around the body's center line. If the student can changing to "swallow penetrating through the
learn to execute this variation of the single palm forest."
change smoothly and fluidly while maintaining
stability, he or she will find that the standard Variation #6
"hiding flower under leaf" change becomes much The next variation of the single palm change is
simpler. In Pa Kua Chang application there are called the "outside single palm change" because \
many instances where the practitioner will use the change of direction occurs while the I
this "winding" energy. The more stable, smooth, practitioner is facing outside of the circle instead
and fluid the practitioner is in the execution of of inside the circle. This is a smooth and
this movement, the more useful it will be in continuous change of direction which employs a
application. Through practice of this version of continuous tornado-like energy instead of the
the single palm change, the student will learn typical winding and unwinding. This variation is
how to rotate the body around its center axis in a performed as follows:
smooth, continuous, crisp, and fluid manner. The
change is executed as follows: 1) Park begins by walking the circle in the ,
clockwise direction. See photo 1.
1) Park begins by walking the circle in the 2) Park executes the first k'ou pu movement
clockwise direction. See photo 1. and immediately begins to perform a fan chang
2) As he takes a step with the outside foot, Park with the left hand coming under the right elbow.
executes a 180 k'ou pu turn while the hands See photo 2.
immediately begin to transition into the "hiding 3) Park turns to the outside of the circle,
flower under leaf" posture (for an explanation of rotating to his left as he executes the fan chang
the 180 k'ou pu, see the first volume of this book, maneuver. Notice that he first executes a 180
page 102). See photo 2. degree pai pu movement with the left foot as the
3) Park executes the full "hiding flower under arms begin to change (the 180 degree pai pu is
leaf" posture. See photo 3. shown on page 103 of the first volume of this
4) Park begins to unwind and then executes a book). Then as the arms continue to change he
fan chang maneuver. See photos 4 and 5. swings the right foot around into a k'ou pu. See
5) Park completes the fan chang and steps off photos 3 through 5.
to walk the circle in the other direction. See After the first k'ou pu as shown in photo 2, Park
photos 6. only needs to execute a 180 degree pai pu
followed by a k'ou pu and he is now in position to
A variation of this change which will further step off and walk the circle in the other direction.
challenge the practitioner's balance and stability 4) Park now completes the fan chang
around the body's center line is to execute a t'ien maneuver and walks the circle in the other
fan chang maneuver from the "hiding flower direction. See photos 6 through 8.
under leaf" posture of photo 3. In practicing this As a quicker variation of this movement, Park
variation, the winding into the "hiding flower could have immediately stepped into a. pai pu
under leaf" posture and the unwinding using the with the outside (left) leg from photo 1 and thus
t'ien fan chang movement are executed swiftly skipped the first k'ou pu movement altogether.
and fluidly. This change of direction is very fast. This type of change is very fast and tornado-like.
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1 2 3 4
5 6
This type of change can also be used when opponent in any kind of posture just before photo
executing the "sliding the window shutter to look 4 was taken and the opponent tried to use his
at the moon" hand movements which are shown in footwork to get to Park's left side or back, Park
the palm training chapter of this volume. could execute the footwork shown in photos 4 and
In application, this footwork maneuver is not 5 to outmaneuver the opponent and get around to
used in turning the back to the opponent. Park's the opponent's left side or back. This kind of
rule of thumb is that you should never turn your footwork is also employed in walking a very tight
back to your opponent's front. So, in this circle or walking a spiraling pattern (see the
maneuver, although you turn your back to the spiraling change shown on page 63).
tenter of the circle as you change, you should
not think of this as turning your back to your
opponent. Usually this pronounced pai pu,
followed by a k'ou pu in the same direction is used
to move in behind an opponent who has tried to
outflank you. For instance, if Park was facing an
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1 2 3 4
5 6 7 8
Single Palm Change Variation #6
80
81
appropriate technique.
The two photos shown below (k'ou pu to insure the opponent could not step back and
photos 1 and 2) show how one might step in to retreat, the angle of the k 'on pu would not have to
trap the opponent's lead leg from the outside. be so great.
Several key points apply to this maneuver. Thirdly, you want this step to come in tight to the
First, no worthy opponent is going to let you opponent's leg. You do not want to leave him room
simply step in and place your foot behind his. to maneuver. You want your foot behind the
This leg maneuver will always be used opponent's foot and your shin along the opponent's
following, or in conjunction with, an upper calf. If you are going to execute a leg lock, as
body technique that distracts the opponent's shown in photo 2, you want the foot turned in tight
attention. It could be a distraction you created, against the inside of the opponent's inner foot. You
or it could be a distraction the opponent want to begin to add pressure with your shin as you
created himself in attacking you. Either way, bend your knee down. As you begin to add pressure,
there must be a "setup." you are sensitive to the opponent's response.
Secondly, the angle of the k'ou pu step will From the position shown in photo 2 below,
depend on the upper body technique being there are several follow-ups that one might apply.
applied. In the photo shown below, Park has The follow-up you apply will always depend on the
executed a very pronounced k'ou pu because he opponent's response to the initial leg trap (photo 2).
is getting ready to lock the opponent's leg. If he You cannot just step in and assume that you are
was applying an upper body attack and simply going to be able to lock the opponent's leg just
wanted because that is what you want to do. You have to
gain the positioning and then execute whatever
move is appropriate based on the opponent's
response. You have to "feel" what the opponent is
doing as you apply the pressure and "follow" his
motion to create an opportunity. You do not want
to fight against the opponent's will. You have to
adhere, or stick, to the opponent's movement,
redirect, and finish.
In order to give you an idea of what we mean
by "following" the opponent, we will now present
several possible follow-ups to the move executed
in photo 2.
Kʹou pu application photo 1
Follow-up #1
The first follow-up, which is shown in photo 3
on the next page, can occur if the opponent does
not respond to the leg placement of photo 2. This
technique is to simply continue the motion of the
leg lock by bending the knee and breaking the
opponent's ankle. Once the opponent's knee starts
to buckle inward, as shown in photo 3, you can also
sweep that leg, by executing a jump step forward,
and cause the opponent to fall. In the last volume of
this book we explained that in the execution of the
jump step, the rear foot remained on the ground for
Kʹou pu application photo 2 root as it is quickly and crisply pulled forward. This
foot sweeping technique is an excellent use of that
stepping power.
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Follow-up #3
The last alternative we will show here is
executed if the opponent tries to step out of your
lock. If he tries to pick up the foot and step, you K'ou pu sweep angle illustration
K'ou pu application photo 3 K'ou pu application photo 4
83
as he felt the leg lock occurring (just prior to in hopes that you will then create alternatives
photo 2). This pivot is shown in the illustration of your own. For instance, in this section we
below. By using the pivot step, the opponent have only presented the k'ou pu lock to the
has gotten totally clear of the lock. outside of the opponent's forward leg and the
Another possible counter to a k'ou pu lock is a pai pu lock to the inside of the opponent's
pai pu counter-lock. If you feel the opponent's leg forward leg. The k'ou pu lock can also be
locking in behind your leg on the outside, you applied to the inside of the opponent's
can quickly execute a pai pu maneuver into the forward leg and the pai pu lock to the outside
opponent's leg as shown in the photo below. Of of the opponent's forward leg. These
course the upper body techniques will always executions are not quite as common, but they
play a part in dictating what kind of lower body can be effectively employed. It is up to you to
maneuvers and counter-maneuvers you might explore the possibilities.
employ in any given situation. All possibilities
must be researched and practiced in order for one
to be prepared for all situations. Here we simply
presented a few possibilities for you to think about
Pivot counter to k'ou pu leg lock Pivot counter to k'ou pu leg lock
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85
86
Chapter 5
Pa Kua Chang Palm Training
87
Chapter 5
Pa Kua Chang
Palm Training
In the first volume of this book we discussed a few level palm training is accomplished through the
of the basic palm training exercises of Park Bok practice of what Park calls the "Forty Eight Month
Nam's system. These basic exercises are designed Palms." As we explained in the first book, Park
to introduce the beginning student to the calls these exercises the "forty eight month palm"
fundamental body mechanics relevant to set because it took him that long to learn all of
developing Pa Kua whole body striking power, them. His teacher required that he practice each
including the details of correct body alignments, of the eight exercises for six months before he was
use of mental intention, and the breathing taught another. Practicing in this manner it took
methods utilized when striking with the palm. Park forty eight months to learn all of these palms.
The movements and exercises discussed in the The palm training exercises in the forty eight
first volume are somewhat crude in relationship month palm set are not the only palm training
to the refined mechanics of an experienced exercises Park learned from his teacher. There are
practitioner, but experience with large body many more "supplemental" palm exercises that
motions is necessary to develop the muscles, Park was taught in the course of his training. With
tendons, and ligaments properly before the student so many palm training exercises in this system,
is ready for more refined movements and more one might ask why this group of eight was set
precise timing. apart from the others and taught as a specific
The primary purpose of the beginning level training set and in a specific sequence. The
exercises is to develop the body in the area of the answer lies in an investigation of the mechanics
hips, spine, and shoulders. These exercises not involved in training each of these specific exercises.
only work to train correct body mechanics, but In Pa Kua Chang, the power for striking with
also serve to condition the muscles involved in the palm is initiated from the legs, directed by the
these motions and give the practitioner a good hips and waist, and then expressed in the hands.
sense of body alignment and timing while learning In order to have complete training, the student
how to relax the body, loosen the body, and move must learn how to strike efficiently and effectively
fluidly. Once these basic exercises have been in six directions (left, right, front, back, up, down)
practiced for a sufficient amount of time, the with each hand.* In striking to the front, to the
student is then ready to develop the entire torso in sides, to the back, and in striking with both hands
a more complete fashion, further develop simultaneously in one or a combination of these
suppleness and flexibility, and experience details
and subtlties that the rank beginner's body would * Note: There are really a total of eight directions. The other
not be able to understand or experience. two directions, inside (close to the body) and outside (at
In Park Bok Nam's system, this intermediate arms length from the body) can be trained as variations of
each of the exercises.
88
directions, the mechanics of motion and power supplemental set to these palm exercises as it
generation in the legs and torso are slightly helps train the flexibility necessary in the
different. Each of the eight exercises of the forty execution of the palm striking drills. The
eight month palm set teaches the student how to "hiding flower under leaf" exercise also helps
strike to each of the six directions and therefore develop the kind of flexibility which is required
also develops a different part of the in developing Pa Kua Chang striking power.
practitioner's leg-torso connection, alignment, This training is not easy, the number of subtle
and power. After training with the complete set physical connections, alignments, and secondary
of palm exercises for several months, the muscle movements required to produce an
practitioner will find that the entire body has not effective internal strike will be overwhelming to
only been developed such that power can be the uninitiated. This is one reason why Park
delivered in every direction, but additionally, always starts beginners with simple exercises
the complete development of the entire torso and drills as the ones we presented in the last
aids the overall ability to generate internal volume of this book. Without putting in a great
power in general. However, simply looking at deal of time with the basic exercises, the student
the exercises will not give one as clear a picture will not be able to make sufficient gains with the
of this process as actually spending time exercises which follow.
training the exercises. After practicing about The genius of this particular set of exercises
500 repetitions of any one of these exercises in is that in correctly training all eight of the
one practice session, the practitioner need only "forty-eight month" palms, after obtaining a
recognize which part of the body is sore the next good foundation with the prerequisite exercises,
day to know what part of the body that the correct alignments, connections, energy, and
particular exercise has trained. In the following power will be naturally developed. The
section we will describe each of the forty eight practitioner does not have to search to uncover
month palms in detail. the "secrets" of internal power. He or she just
The foundations of an internal strike are found has to practice these exercises correctly for a
in the subtle body connections, intricate body sufficient amount of time. That is the beauty of
alignments, functioning of the joints and this set, you just practice and the results will
tendons, flexibility of the entire body, and come.
secondary muscle movements. In training these In order to properly train your body, each
exercises you will be finding and using muscles component and subcomponent of the internal
you didn't even know you had and you will be strike must be trained and understood through
developing suppleness in areas that are difficult experience before they can all be brought
to stretch during normal daily activity or together. This is what the practice of this
standard flexibility exercises. particular set in the correct sequence and for a
Developing the kind of twisting, turning and sufficient amount of time can do for you.
"whipping" power which is prominent in Pa
Kua Chang, the practitioner must develop a
level of suppleness in the joints which is beyond
that of the average athlete or martial artist. It is
not only the major joints, such as the shoulders,
hips, elbows, and wrist which must gain a new
degree of suppleness. This looseness must also
extend to the entire spine and the junctures of
the ribs to the spine and sternum.
In many of the exercises outlined in this book
you will be striving to achieve levels of
flexibility in your joints that you may now think
are impossible. The "standard eight" ch'i kung
set shown in Chapter 7 of this book is a good
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90
internal and external body systems other as the sides change. He says that when
are harmonized. doing this the "ch 'i must be full" from the tan
Performing exercises slowly also trains more of t'ien to the hand at all times because it takes to
the muscle fiber in the muscles which are related long to bring ch'i from the tan t'ien to the hand in
to a given motion. By executing movements a fighting situation when changing from one
slowly in the beginning, the student will train the technique to another or throwing multiple strikes.
exercise giving each muscle group more time to It must already be there and be full at all times.
engage the complete muscle. Also, when moving Glen Moore explains this principle using
slowly other supporting, structural muscles will "Pascal's Law of Hydraulics." He says that in any
engage because a slow moving arm requires more hydraulic system if the pressure is applied on one
structural support from the body than a rapidly end of a closed loop it is felt immediately on the
moving arm. If you train a movement fast from other end. If a fire hose is charged and the root
the beginning, the motion will utilize fewer valve is on, one will get pressure as soon as the
muscle groups and muscle fibers and thus the nozzle is opened. If the system is not charged and
body will be limited in both power and connection. the root valve is opened, you will have to wait for
If trained slowly, the muscles of the body are the pressure to get to the nozzle. In our case, the
developed more completely (more fibers firing at tan t'ien is the root valve and the palm is the
the same instant for the same purpose). Later, nozzle. When practicing, you will want to always
when the exercise is performed at full speed, the keep your system "charged" by not "losing" the
body's "memory" of that movement will still ch'i.
engage the complete muscle as it was trained in In regards to ch'i development, this type of
the slow practice, thus the structure, power, exercise is designed to build a strong energetic
alignment, and timing will all be optimal. connection between the tan t'ien and the palm,
The second rule of thumb involves the mental and cultivate a full circulation of ch'i in the body.
intention and the movement of energy in the body It is a yin, or "building" exercise. In this exercise
during the practice of power palm exercises. the ch'i should not be "used" by projecting it
When the student is practicing the exercise in a outside the body with the motion or the intention,
slow and exact manner, the intention is placed on it should be kept, or "recirculated" within the
the striking palm. As we explained in Volume I, body.
this is to facilitate a movement of ch'i and blood to After the student progresses from the slow,
the palm. This also provides correct internal exact movement to the quick, whipping style,
connections and harmonizes the mind, breath, and "power" building movement, the mental intention
body. This type of harmony must first be changes. Here, when the palm is thrown forward,
developed in the practice of slow, smooth, fluid the intention extends past the hand as if the
motions. practitioner is trying to throw something far into
During the execution of slow exercise, Park the distance. This use of intention takes the ch'i
tells his students to "keep the ch'i." This means from the tan t'ien, out the hand and away from the
that the student does not allow the ch'i to extend body. Training the intention in this manner is
past the hand. In other words, the intention stays in important when cultivating the ability to use
the hand as if the exercise is a ch'i kung exercise. internal energy to damage the opponent. This type
The intention does not go out past the hand as if of energy usage, or yang style exercise, should
the practitioner were thinking about striking always be balanced with the yin style exercise
someone. In the beginning stages of working with described above. If the student does not balance
any of these palm exercises it is best not to think the training between energy rebuilding and energy
about the movement as a palm "strike," but think usage, the body's energy will become drained.
about it simply as a ch'i kung exercise. A good rule of thumb to follow in practice is to
When Park talks about "keeping the ch'i" in the begin a palm training set with the slow energy
hand between movements he tells students to building set, execute the power training sets, and
visualize the ch'i moving from one hand to the then end the practice with a long, slow set or circle
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walking. Every training program and every training how to combine these palms with the elbow sets
session should have a balance between exercises and "eight animal" movements, and how to
which expend energy and exercises which integrate these palms into circle walking forms.
cultivate, or rebuild energy. The student will also learn "apparatus" training
In a seminar Park Bok Nam gave in California for each of these palms. Each of these stages of
several years ago, an acupuncture student watching training which follow the practice of the basic
Park execute the power palm exercise asked Park repetitive palm exercises will be briefly discussed
if the practice of this exercise would deplete the at the end of this chapter.
practitioner's ch'i. Park explained that practice In regards to the exact training sequence of the
always must be balanced between energy forty eight month palms themselves, each student
cultivation and energy usage and that the ch'i in will start by learning the "single palm change" and
the body is always being used and replaced. "This the "double palm change" exercises as the first two
is natural," Park said. Park believes that it is of the series. From that point, the other six might
actually good to practice exercises which expend be taught in a variety of different orders depending
ch'i as long as there is also practice of exercises on what part of the body Park feels the student
which cultivate ch'i. Approaching a complete should be developing. He bases this decision on
training program in this manner, the ch'i in the the individual's body size, level of flexibility,
body is always being cycled and thus there is less coordination, and development of the "kung fu
chance of ch'i stagnation. body."
Your body develops ch'i in order for you to use
it. You should not avoid difficult exercise or
taxing situations just so you can save or build ch'i Single Palm Change and
for the sake of having it. However, you should Double Palm Change
never deplete your body of more energy than you
have. A common sense balancing of food, drink, The first two palms of the forty eight month
internal and external exercise, and rest will palm set were examined in detail in the first
maintain your health in a natural manner. To volume of this book. These two palm training
much rest, too much energy conservation, too methods are the first two exercises taught in the
much of a sedentary life style can be just as bad as forty eight month palm set because the mechanics
over work and over stress. Always seek a balance. and movements of these exercises are naturally
developed from the two fundamental exercises
The Training Sequence (shaking palm and dragon back). Since these
In training the forty eight month palms, the palms were explained in the last book, we will not
student will progress through a graduated sequence discuss them in much detail here. However, as a
of training in order to properly develop the power reminder, we have included new footage of Park
associated with these palms and then learn how to executing these exercises on the companion video.
use them in fighting. This sequence begins with The Single Palm Change exercise combines the
each of the palms being practiced as a solo, mechanics of the shaking palm (rotation of the
repetitive exercise as described in this book. As body around a central axis) and the dragon back
with all training drills in Park's system, the exercises (segmented whipping of the spine) into one
are first practiced slowly, then with power, then exercise. Additionally, in both the Single Palm
with speed and power, then the palm strikes are Change and Double Palm Change exercises, the
integrated with the eight direction rooted stepping stance of the exercise is changed from a "horse
footwork which was described in the first volume. stance" to a "bow stance" and thus the mechanics
After the student gains an experiential of the movements become more difficult to
understanding of how all of these palms are perform as the hip and back motion become more
combined with the eight direction rooted stepping restricted as a result of the stance.
exercises, he or she will then learn how to combine Additionally, the combination of the shaking
these palms together in particular combinations, palm and the dragon back motions performed
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while standing in the bow stance serves to further ch'i kung have been overemphasized to the point
train the legs, hips, shoulders, arms and spine in where correct natural body alignments and
both strength and suppleness. The whole body is efficient movements have been practically ignored.
trained in the execution of these palms. Of special The real knowledge to an internal system
importance for developing internal power is the should not strictly be defined in terms of the ch'i
work these two palm exercises do to condition the development. It is equally as important to gain
psoas muscle and the intercostal muscles between experiential knowledge of the physical mechanics
the ribs. These two muscle groups work together of the system - learning how to use your body the
in the performance of the dragon back motion to most efficient and effective way possible. This is
provide the mechanical power associated with what we will address in this section. When this is
these palms. accomplished, the development and efficient
Anyone who has practiced these two exercises movement of ch'i will be a natural progression.
correctly can testify to the fact that the day after Ch'i kung practice is then used to amplify this
first training these exercises, they could feel it in natural process, and the good habits of body
every part of the body. Of all the palm exercises mechanics that have been trained are combined
a student is taught in this system, Park states that with breath and intention to form an integrated
if the student wants to develop a great deal of mind and body.
striking power, these two exercises should be In writing these sections on body mechanics
practiced for a considerable length of time. we are assuming that the practitioner has gained
Remember that when you are practicing these an experiential knowledge of the two body motions
palms, be sure to keep your head facing forward. which were emphasized in the first volume. These
If the head looks to the side as the power comes up mechanics are: axial rotation around the skeleton
the spine, you can injure your neck muscles or as trained in the "shaking palm" exercise, and
cause a severe headache. segmented whipping of the body as trained in the
"dragon back" exercise.
After describing the mechanics of the palm,
Now we will begin to describe the remaining we will then describe the exact execution of the
six of the eight "forty eight month" palms. In palm exercise. This section will be aided by the
each of these sections we will present the following: use of photographs of two types. One is a "slow
an introduction to the physical mechanics of each set" taken with a still camera. The other is a "fast
palm, the exact movements of the exercise, and set" extracted from video footage.
some combat applications or uses of each palm. The exercises section will be followed by some
In introducing the physical mechanics of the descriptions of how the palm might be employed
palms we will address each palm's mechanics of in combat. In this section we will emphasize that
movement by describing what part of the body it the application of these palms is not necessarily
is training and how practice of this palm helps exactly like it is practiced in the exercise set. Each
train the physical body. When we discuss these palm has numerous variations in application that
mechanics, we will be talking in physical, differ from the exercise. The important point to
mechanical terms. There will not be much grasp when practicing these palms is not the exact
discussion of ch'i energy in this section. We are palm shape, height, or angle of the strike, but,
getting down to detailed basics here. more importantly, developing an understanding
Many practitioners think that the "secrets" of of what part of the legs, hips, waist, and torso are
the internal arts are found in the ch'i kung - the being trained and how the power is being issued.
energy work of the system. The ch'i and the When practicing, ask yourself, "How is the power
mental intention do play an important role in the being developed in this palm?" Answering this
overall picture. However, today, in some circles, question will allow you to use the mechanics of
ch'i has been built up as a mysterious power that, the palm strike in numerous situations, not just
when obtained, will allow the practitioner to have the situation which pertains directly to the exercise.
"superhuman" abilities. In many cases ch'i and Paying attention to only the application which is
93
an exact copy of the exercise itself will severely further conditions the muscles around the hips
limit your usage of these palms in fighting. and inner thighs that were used in the shaking
palm and single palm change exercises.
When most beginners are first learning how to
Throwing Palm use power in striking, they will inevitably "try"
and produce power by utilizing the muscles in the
Introduction: In practice, the "throwing palm" shoulder and arm to forcibly produce a powerful
trains the practitioner's ability to totally relax the effect. Usually a beginner's idea of power is such
hand, arm, and shoulder while utilizing centrifugal that when they are thinking of striking, their
force and gravity to help move blood and ch'i to mind automatically engages the muscles of the
the hand. After practicing this exercise you will upper body. Because this exercise does not really
notice that your hands become very red and feel look like a strike, the practitioner's mental image
heavy and "full." of striking someone is less vivid and thus it is
Practicing this exercise in a relaxed manner easier to relax the shoulder and arm and generate
really facilitates an opening up of the ch'i and the "power" from the lower body.
blood pathways in the arm and hand, and because The extreme twisting and stretching of the
of this, it is important that you are quite warmed body in the area of the rib cage with the "wind-up"
up before you start this exercise. It is best to and the complete collapse of this area when
practice the shaking palm, dragon back, and/or bending forward aids in training the muscles
single and double palm change striking exercises around and between the ribs and the abdominal
prior to practicing the throwing palm. Because of muscles in both flexibility and coordination. These
the great amount of ch'i and blood that naturally areas of the torso become important to the
moves to the hand when practicing this exercise, production of a vertical component of power
if the body is not first already circulating the ch'i when striking with subtle power. The execution
and blood to a slightly elevated degree, the vigorous of this exercise also loosens the spine and helps to
movement of ch'i and blood to the hand which maintain the health of the lungs and kidneys
occurs during this exercise can cause the hand to because the arching of the spine and twisting of
ache as the channels and pathways in the hand the body when the arm is raised up, followed by
are dilated too quickly. the bending of the spine and the body with the
In the execution of the throwing palm exercise downward throwing motion, aids in helping the
it is also important that the arm and shoulder kidneys and lungs move within their respective
remain very relaxed as the arm and hand are internal cavities.
"thrown" by the twisting of the torso and bending
of the body. The hand is "thrown" from an over Performance of the Exercise: The throwing
head position to a position between the legs and palm exercise is performed as follows:
just above the ground as if one is trying to flick
water off of the hand. To achieve this feeling the 1) Begin in a "horse" stance with the palms held
wrist must also remain very loose. in beside the ribs. See slow set photo 1.
Because the arm, hand, elbow, wrist, and 2) Extend the right hand forward and bring the
shoulder are very relaxed and the hand is being left hand in behind the right elbow. See slow set
thrown downward vigorously through a circular photo 2.
arc, the movement facilitates a great rush of ch'i Raise the right hand upward with the palm
and blood to the hand. This helps to open ch 'i and facing downward and twist the torso to the right.
blood channels in the arm and hand and teaches Relax the area around the right rib cage and allow
the student to completely relax the shoulder and these muscles to expand with the lifting of the
arm while generating power from the legs and arm. Twist the hips as far as you comfortably can.
torso. Additionally, the bending motion associated Inhale as the hand is raised. Allow the left hand
with this exercise conditions the muscles of the to fall back down by the ribs with the palm facing
abdomen and lower back and the twisting motion up. Ensure that the shoulder remains relaxed. If
94
1 2 3 4
5 6
you would like to facilitate a greater stretch in the on the next page that in the execution of this
area of the ribs, you can twist your right hand segment of the exercise the elbow is brought
until the thumb is facing downward. The slow set down first and leads the lower arm and hand (fast
photo shows the palm facing downward, the fast set photos 7 and 8). This occurs because the arm
set photo (#6) displays the twisting of the hand to is relaxed and as the power is generated from the
a greater degree. See slow set photo 3. body it creates a chain reaction on the arm much
4) While maintaining a completely relaxed like a whip. The shoulder is thrown first (fast set
shoulder, arm, and hand, twist the torso back to photo 7), then the elbow follows (fast set photo 8)
the left while bending straight over from the and then the hand is subsequently whipped
waist. Audibly exhale through the nose with this downward rapidly in an arc (between photos 8
motion as you did in the shaking palm exercise and 9 of the fast set). This chain reaction, or chain
described in the first volume. (To review this of movement, will naturally occur if the
breathing method, refer to pages 156 and 157 of mechanics of the body motion are correct and the
the first volume). Allow the hand to be thrown shoulder, arm, and hand are relaxed. You do not
between your legs with the bending of the waist need to think about it. It is the centrifugal force of
and twisting of the body. Allow the wrist to be the hand arcing around the axis of the elbow
very loose and snap at the last moment as if you which provides the first moment of power in this
are trying to flick water off of your hand. exercise which results from the leg, hip, shoulder
You can see in the photos for the fast set shown connection. The next moment of power in the
95
chain is facilitated by the "flicking" of the fingers or burning sensation it inflicts will definitely get
in an arc around the axis of the wrist. the opponent's attention. If delivered properly,
As the hand moves downward, you should there will be welts on the opponent's body which
hear the rushing sound of the air passing your rise up to produce an exact outline of your fingers
hand. If your arm, wrist, or hand is stiff, the and/or hand.
rushing sound will not be there or will not be too The "flicking" motion of the wrist and the
prominent. All the joints should be relaxed and image of flicking water off the hand become
supple and the wrist should be flicked at the very especially important when training to use the
end of the movement in order to complete the throwing palm in fighting. This palm can be
chain of power, or whipping effect. delivered from almost any angle, it does not need
Be careful not to hit the ground with you hand to be applied as a downward strike as practised in
and do not allow your arm to swing too far under the exercise. The key in its usage is to allow the
your legs or you might hit yourself in the groin wrist to be totally relaxed and let the power
with your arm. The shoulder is very relaxed and generated by the body transfer through a loose
hanging downward in this position. The energy and relaxed shoulder and elbow and then allow
of this strike is primarily downward with just a
the motion to "flick" the wrist. It is as if one is
slight swing to the rear. Do not swing to far out in
cracking a whip or snapping a towel.
front of you when striking
When applied to the opponent, this palm is
In this position, the spine is rounded and the
typically delivered to soft, fleshy areas of the body
shoulder and hip relaxed. The knees are bent such
that the legs carry the weight of the body and for the best effect. When applied to the arms or
there is not unnecessary stress on the lower back. legs it is usually used as a block which is
The lower back should be relaxed. See slow set immediately followed by another strike to body,
photo 4. neck, or face. However, it can also be used
5) From the downward hanging position, begin effectively as a primary strike which rakes the eyes
to raise up and bring the right hand upwards with or smacks the face or head in a vulnerable area.
the palm facing up. As the right palm comes up, The most dangerous area to hit with this palm is
bring the left arm underneath the right. the opponent's temple. This strike can be delivered
Both with either the fingers or the whole hand and the
palms are facing upwards. See slow set photo 5. back of the hand works as well as the front of the
6) Continue bringing the palms upward to face hand.
level. See slow set photo 6.
7) You are now ready to execute this palm on the
other side. Continue to allow the left palm to rise
Slapping Palm
to the position the right palm is in as shown in Introduction: The slapping palm exercise trains
photo 2. Now repeat the steps on the other side.
the body to develop vertical striking power in a
Application in Fighting: In application, the downwards moving direction. In the execution of
throwing palm emulates the power generated at this exercise, one side of the torso will be trained
the very tip of a whip. Park's teacher told him that to relax, open and expand and then compress
in China the whip was a very popular weapon and downwards as the palm is thrown along a strictly
this palm is an attempt to generate the stinging vertical path. To take full advantage of the muscles
power of the whip with a strike of the hand. between the ribs aiding in the power of this strike,
This palm is used to create a very uncomfortable breathing will also play an important role in this
stinging or burning sensation on the area of the strike.
opponent's body where it is delivered. This feeling The expansion and compression of the torso
is similar to what is referred to by some people as (area between the hips and shoulders) will be
the "fire" palm. The energy of this palm does not utilized in this and the next palm (lifting palm)
penetrate as deeply into the opponent's body as exercise and is an important component in
some of the other palms, but the intense stinging generating vertical striking power. This does not
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only apply to directly upward or downward striking "throwing palm" exercise, but the motions are
motions because eventually your strikes that are much more subtle. Also, the "slapping palm"
applied directly in front of you can have a vertical does not utilize the "flick" of the wrist like the
component to them and thus the execution of throwing palm does. It is a more solid, penetrating,
these exercises aids the development of all striking downward strike. This is one reason it is good to
possibilities. practice the throwing palm before the "slapping
In this exercise, the muscles in and around the palm," it provides a good warm up and stretching
rib cage must learn how to relax and expand and of the body.
then contract in a unified and coordinated manner. The last component of power utilized in the
However, this is not a "tense" muscle contraction. execution of this strike is the lower torso and legs.
It is more like an intentional dropping, or If you watch Park Bok Nam execute this exercise
collapsing, of the ribs. The expansion and on this book's companion video, you will notice
contraction which naturally occur as a result of that there is a slight movement of the lower body
this exercise will "wake up" muscles that you are up and down as the striking hand is brought up
not accustomed to using and teach them how to and then thrown down. The dropping of the body
coordinate with the rest of the body to provide with the downward thrust of the palm in this
unified whole body power. If the exercise is exercise helps to work the legs and the coordination
practiced for a sufficient length of time, the of the upper and lower body. However, it is
coordination of the entire body and the breathing important to know that this up and down motion
will begin to naturally occur and will become of the body is not employed in actual application.
habit. In actual application the body will not move up
As with all developmental exercises and their and down in this manner. The up and down
corresponding applications, these exercises are motion of the lower body is simply a part of the
executed with big movements while the actual exercise designed to teach the student to sink and
movements in application become quite small, relax the body with the strike and it helps to train
quick, and subtle. In order to develop subtle the legs. Like all motions in Pa Kua Chang, this
vertical striking power, the tendons, ligaments, component of the exercise will eventually become
and muscles need to be conditioned, the joints very subtle when this type of palm application is
loosened, and the proper mechanics trained in used.
the execution of the slapping palm and the lifting The subtlety of any up and down motion of
palm. the lower body when applying a Pa Kua strike is
The downwards compression of the torso is a important to understand because some
drawing together of the muscles in the torso in a practitioners mistakenly believe that dropping
completely vertical manner. The spine remains the body weight with a strike by relaxing and
vertical and the power is generated by rotating the physically lowering the body is the way to get
body around its center axis and compressing the "internal power." While dropping the body weight
torso. In this exercise the torso (from hip to with a strike can certainly help an individual
shoulder) works like a spring. When the palm is develop a strong punch (especially big people), we
lifted up, the spring is stretched. When the palm stay away from using this method of developing
is thrown downward, the spring is released and power when applying Pa Kua because speed and
snaps back to its original shape. The spine is to maneuverability are sacrificed when this method
remain straight as this exercise is practiced. A is employed. Pa Kua Chang is an art that applies
common mistake is to let the body collapse forward its strikes when the practitioner is continuously
and thus the connection between the shoulder moving. It is hard to keep moving if you are
and torso is sacrificed. dropping your weight with every strike.
In the execution of this movement, the arm Additionally, Pa Kua practitioners learn how to
and shoulder are relaxed and thus the power strike numerous times in a matter of seconds. If
comes from the torso and legs. The movement in the practitioner has to drop the body weight with
the area of the torso is similar to that of the every strike, it slows down the striking
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imagine that the energy of the strike continues pull you off balance.
and penetrates down into the ground when the The slapping palm strike does not have to move
hand stops. in a strictly downward direction as it is practiced
In order to practice the "shock" strike variation, in the exercise, the downward motion can also be
when the palm is thrown down and reaches its applied with a horizontal component (forward
lowest point imagine that you are slapping the movement). This strike is similar in application to
surface of a tub of water. As the palm "strikes" the "splitting fist" of Hsing-I Ch'uan. When
the water, allow it to bounce back up slightly as if employing this palm, the practitioner can use the
was rebounding off of the surface. This "bounce "heavy" or the "shock" application. The heavy
back" is subtle and should be allowed to occur as strike is used when you want to control the
a natural recoil. Do not physically force this opponent's body or break bones. The slapping
rebounding motion. If you do, your muscles will palm is very effectively used in arm breaking
be too tense. techniques when it is combined with the lifting
The image of the energy of the shock strike palm. The shock energy is used when you want to
should be as if you are slapping a ball to the damage the opponent internally and is usually
ground and catching it with the rebounding of the applied to the chest or head.
palm as it bounces back up very quickly (faster Starting on the next page we show two examples
than a normal rubber ball would travel). of how the slapping palm might be used in
application.
Application in Fighting: The slapping palm is
applied in fighting when any vertical (downward) Example 1:
strike is required. It could be a downward moving 1) The opponent tries to come inside Park's
strike to any part of the opponent's body leg, foot, defenses by deflecting Park's forward arm too the
arm, hand, back, or head. The crown of the head side. See photo number 2.
is an especially dangerous place to employ this 2) Park pulls down on the opponent's arm with
strike in its "shock" variation. Sometimes the his right palm. Even though this downward
slapping palm is also applied as a simultaneous pulling motion is not a "strike," it employs the
double strike with one palm hitting the head and mechanics of the slapping palm. Keep in mind
the other hitting the chest. This double strike is a that the execution of any of these palm mechanics
nice follow-up to a single palm change maneuver does not have to be a "strike." The applications
which opens up the opponent's center. can include pushing, pulling, leading, guiding,
One other useful application of the slapping trapping and many other types of martial art
palm occurs after the practitioner has thrown an technique. See photo 3.
opponent to the ground. Immediately after the 3) As Park blocks the opponent's left arm, the
opponent is thrown to the ground, the practitioner opponent attempts to hit Park with his right arm.
will execute a slapping palm to the opponent's Park once again uses the slapping palm to trap the
face, chest, or back, depending on how the opponent's attack. Notice that Park blocks the
opponent has landed. One precaution to use in the opponent's upper arm so as to better control the
execution of this kind of strike is to avoid bending opponent. As Park is blocking he prepares to
over at the waist to reach the opponent. If you strike the opponent's head with a slapping palm.
bend over at the waist in order to strike the opponent, See photo 4.
it will be easy for him to grab you and pull you off 3) Park continues to control the opponent's right
balance. In this situation it is better to kneel down on arm as he begins to execute the slapping palm to
one leg (with that knee not quite touching the the opponent's head. See photo 5. 5) Park
ground). This way the upper body remains upright executes a slapping palm to the top of the
and the legs are in a strong position to quickly opponent's head.
stand up again and keep moving should that be
necessary. Also, in this position it will be more Example 2:
difficult for the opponent to try and 1) Park's opponent reaches to grab his wrist. See
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photo 1. 4.
2) Park's opponent grabs the arm and tries to pull 5) As the opponent begins to loose his balance,
Park off balance. See photo 2. Park continues pulling the opponent's arm across
3) Park begins to step backward and out to an the opponent's body as he steps backwards. Many
angle to the opponent's right side. At the same times in the execution of the sequence show in
time he rolls his wrist around to place his hand on photos 4 and 5 Park will execute the "dragon
top of the opponent's wrist and brings his other hand back" whipping motion as he is pulling the
up to the opponent's hand. Stepping out to an angle opponent. This not only off balances the
and rolling over the wrist will dissipate the opponent, but sends a shock wave up the arm to
opponent's pulling force and put the opponent in a the opponent's neck. This technique produces a
disadvantageous position. See photo 3. whiplash effect on the opponent's neck. See
4) Park begins to step backward and begins to photo 5.
pull the opponent's arm across the opponent's body 6) Park releases the opponent's arm with his right
in order to off balance the opponent. See photo hand as he continues to control the opponent
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10 11 12
with his left hand still grabbing the opponent's axis) is also the key source of power in this palm,
right wrist. He also begins to move out to the however, whereas the power in the slapping palm
opponent's right flank. See photo 6. was applied during the compression phase, the
7) Park continues moving to the opponent's flank power during the lifting palm is applied during
and, as the opponent falls forward, he begins to the expansion phase.
execute the slapping palm to the opponent's One thing to notice when performing this
back. See photos 7 and 8. exercise is the relative motion of the left and right
8) Park executes a slapping palm to the opponent's sides of the rib cage when applying the strike. You
back with his right hand and begins to immediately should notice that while one side is expanding
follow the right slapping palm with a left slapping with the application of the strike, the other is
palm. See photo 9. compressing, or sinking. This action also occurs
9) Park executes the slapping palm with the left during the slapping palm when one arm is raised
hand and then follows that with a right elbow. up to strike and the ribs on that side open, the ribs
See photos 10 through 12. on the other side close as the shoulder sinks.
Although this application may seem like a The movement and action of the respective
time consuming sequence of events when it is sides of the body in the area of the ribs is consistent
broken down step-by-step, Park's execution of with the theory of yin and yang. In order to have
this sequence is blindingly fast, especially the power and stability, the body must be balanced. If
one-two-three combination of two slapping palms one side moves forward, the other side moves
followed by the right elbow. back, if one side moves up, the other side moves
down - this is how we maintain balance and
stability when fighting and applying power. In
Lifting Palm the execution of the slapping palm and the lifting
palm, there are two forces which should be
Introduction: The lifting palm exercise trains balanced. One is the respective forward and
the body to develop vertical striking power in an backward motion of the hips and shoulders and
upwards moving direction. Its expression of power the other is the upward and downward motion of
is exactly opposite of the slapping palm. The the opposite sides of the torso.
expansion and compression of the torso (combined When twisting the body around its center, the
with the rotation of the body around the center hips and shoulders on the side of the nonstriking
105
(receptive, yin) side should move backward with an lower than the level of the shoulder when you
equal and opposite force and intention as the hips turn the body. Ideally you want the right hand to
and shoulders on the side of the striking (active, stay in front of the face and not be dropped down
yang) hand. This not only provides balance in the in an effort to "cock" the strike. However, it is
body, it also allows the body to generate more recommended that beginners allow the hand to
power around the center. It might be called the drop down to about shoulder level when first
"wing-nut" principle. If you had to unscrew a wing executing this palm so that it will be easier to get
nut, you wouldn't just push on one side, you would a feel for what the body is doing.
apply equal and opposite force on each side. This When the body turns, allow the right shoulder
was the main principle of body mechanics and to relax and sink down and allow the ribs on the
motion that was practiced in the shaking palm right side of the body to compress. Again, this
exercise described in the first volume. "compression" is not a muscular adjustment you
In the practice and application of the slapping have to force, it is merely a relaxing of the area of
palm and the lifting palm, the motion of the body the ribs and an "intention" of compression in that
moving around its center (wing-nut principle) is area. (There is no slow set photo of this move.
combined with the equal and opposite upward and Please refer to the fast set photos.)
downward motions of the upper torso and chest in 4) Now, twist the body around its center so that
the area of the ribs. In the slapping palm, the ribs of the right hip and shoulder move forward. At the
the active hand were expanded when the hand was same time, thrust the palm upward. As the body
raised upward and the opposite ribs compressed twists and the palm is thrown, allow the right side
(relaxed downward). During the execution of the of the torso to relax and extend while the left side
strike, the striking side ribs were compressed while compresses downward with the drawing back of
the opposite side ribs held their compression in the left hand and the sinking of the left shoulder.
order to support the compression of the active side. If this is done properly you should actually feel a
When executing the lifting palm, the power of the very slight shearing motion up and down the
expansion on the striking side is greatly aided by the center of your chest in the area of the sternum. See
simultaneous compression on the passive, or slow set photo 3.
nonstriking side. In this movement, there is also a slight pushing
The principle of using both sides of the body in upward with the legs as the palm is thrust upward.
an equal and opposite expression is one of the key It is not very noticeable in the body, but you
developmental concepts to grasp in the practice of should feel the legs actively participating in the
the lifting palm. An uncommon degree of upward thrusting of the palm.
suppleness of the muscles between the ribs, around When the palm is about to reach its apex, the
the sternum, and around the spine in the mid-back wrist is thrust quickly upward in a snapping
region helps facilitate these body mechanics and the motion while the fingers are pulled down slightly.
development of power. This is a similar action to that performed in the
slapping palm, although the palm is facing up
Performance of the Exercise: instead of down. As we will discuss later, the
1) Begin in a "horse" stance with the palms held "wrist power" is very important in every palm
in beside the ribs. See slow set photo 1. strike. Not only does the wrist power help optimize
2) Bring the left hand forward to about face level the mechanics of the movement, additionally,
and then bring the right hand underneath the left the wrist, elbow, and shoulder articulations
elbow and execute a fan charts maneuver. The stimulate the motor nerves of the arm. The more
right hand comes up in front of the face and the left flexibility, suppleness, and movement there is in
hand is by the right elbow. See slow set photo the joints, the more messages are sent by the
number 2. sensory nerves to the brain telling the brain to
3) From this position turn the right hip and send more energy to that part of the body.
shoulder to the right, rotating the body around its With the upwards thrusting of the palm, the
center. Do not allow the right hand to drop down practitioner exhales audibly. The mechanics of
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the dragon back can also be used by more energy being sent through the body and to the
advanced practitioners to aid in the development muscles which are performing the movements.
of power for this strike. As the body turns around 5) After the palm is thrown on the right side,
its center to thrown the palm, the spine can add a execute a fan chang maneuver to prepare for the
subtle whipping motion to the movement. This left side strike. See slow set photos 4 and 5.
motion can be seen in Park's execution of this 6) Repeat the exercise on the left side. See slow
palm on the companion video tape. set photo 6.
The dragon back motion actually occurs in all
of these palms to some degree, depending on the Application in Fighting: The lifting palm is
palm. All of the palms strikes are a combination applied in fighting whenever an upward moving
of yin and yang motion which is derived from the strike is delivered. This strike could be to the
shaking palm and the dragon back. In all palms groin, the arm, the chin, the body, or even the face
there is linear and wave-like movements executed if the opponent has bent forward. In many
simultaneously. Executing the dragon back instances, this palm will be immediately applied
motion in a palm strike also excites the sensory to the area of the opponent's chin after the
nerves of the spine facilitating a greater degree of application of a slapping palm or a straight palm
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Lifting Palm Change
(fast set)
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Lifting Palm Application
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back. The twisting motion of this palm, combined will take a brief side track here and discuss this
with the extended positioning of the arms and concept.
hands, works the area of the torso which surrounds
the lower part of the rib cage. This helps build a Wrist Power and Follow Through: In each of
strong connection between the upper and lower these palm exercises, the power developed in the
parts of the torso and suppleness in the mid-back motion of the wrist is very important. If the wrist is
region. Exercises four, five, and six of the not loose and the wrist action not proper in the
"standard eight" ch'i kung set shown in Chapter 7 execution of the palm strike, the power and energy of
are excellent exercises to practice in order to the strike will not be complete. The wrist action
prepare oneself for executing the chopping palm. provides the "follow through" which completes the
Like those exercises, because of the twisting energy in the movement. Baseball pitchers,
motion in the mid-torso region, this exercise aids in basketball players, bowlers, golfers, tennis players,
maintaining a healthy liver. and many other athletes understand the importance of
The mechanics of this exercise will also develop the follow through in the execution of their
skill and power in striking across one's own body. movements. Just as the baseball pitcher will use the
So far in this set we have learned to strike straight articulation of his wrist and follow through in order to
forward with one palm and both palms, straight up, vary the type of pitch he will deliver, the Pa Kua
and straight down with a single palm on the same Chang practitioner will do the same in order to
side of the body as the striking hand. In training change the energy of the strike which is executed.
this exercise the practitioner learns to strike across
the body in order to develop a diagonal striking Before we discuss the type of wrist action
force. As discussed in the applications section of associated with each of these palms, we will first
this palm, this type of "shearing" force is used very need to establish some vocabulary of wrist
successfully in controlling the opponent's body in motion so that these concepts will be easier to
the execution of chin na or throwing techniques. explain and understand. The wrist can rotate
around three axes as shown in the illustrations on
Another important aspect to consider in the this page. It can rotate along the axis of the forearm
execution of the chopping palm is the articulation of and middle finger as shown in illustrations 1 and 2.
the wrist. Because the wrist motion and follow It can flex and extend around the axis of the wrist
through is very important in all of these palms, we itself as shown in illustrations 3 and 4. Lastly,
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1 ‐ Outward Rotation 2 ‐ Inward Rotation
of the Forearm of the Forearm
3 – Flexing the Hand 4 – Extending the 5 – Inward Contraction
Hand of the Hand
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with the fingers facing forward instead of the heart of the palm. This concept applies to
upward as shown in illustration 4, the follow all of the palm striking exercises and it is part
through of the strike will be incorrect, the of the follow through.
intention will be lost, and the palm shape will In the throwing palm exercise, the wrist was
not facilitate optimum energy flow to the hand. held very loose and the hand was allowed to
Whenever a power palm strike is thrown the whip in an arc around the axis of the wrist
mental intention follows the movement and then (flexing of the hand as shown in illustration 3).
extends beyond the hand when the motion reaches It is as if you are waving "good-bye" to
its apex. However, it is very important that the someone. This action helps to provide the
mind immediately come back to the hand after the stinging power associated with this palm in
projection of intention occurs with the energy flow that the fingers act as the tip of the whip.
of the strike. With this intention, energy will While most of the throwing palm applications
continue to flow to the hand and it will be available are performed with the hand flexing for a
for the next move. As an additional aid in keeping forehand strike and extending for a back hand
the energy flowing to the hand, the palm shape strike, there are some applications where the
should be such that it is not limp or lax. There hand will be whipped in the arc of the inward
should be a slight bit of tension across contraction. This type of strike is usually
applied to the eyes or bridge of the nose.
113
In both the slapping palm and lifting palm nonstriking hand will help the power of the strike by
exercises, the wrist articulation was around the hooking or grabbing the opponent's arm and pulling
same axis as in the throwing palm, but the hand him off balance while the strike is being executed.
was extending (illustration 4) instead of flexing. This technique can be seen in the chopping palm
Another difference is that in the throwing palm applications shown on page 116.
the fingers arced around the wrist axis while in 3) Once the right palm is thrown, the right hand
the slapping palm and lifting palm the fingers are curls under with the fingers facing back in towards
held fairly static while the wrist snaps up or down the body. The right hand remains facing upward.
to produce power in the butt of the palm. The As the right hand curls under, the left hand is
only difference is that in the slapping palm the brought back by the left side ribs.
palm is facing down and the force is downward 4) The body begins to twist back to the right as
while in the lifting palm the palm is facing up and the right hand moves toward the right flank of the
the force is upward. body and then back behind the body.
In the chopping palm we encounter the third
type of wrist articulation. The chopping palm Application in Fighting: In fighting, the chopping
exercise itself utilizes the outward expansion palm is not used as a straight strike, but is a
movement as shown in illustration 6 (the only deflective, or shearing strike or force, executed
difference being that in the exercise the palm is with the side of the hand. It is primarily used in
facing up). However, in application, the chopping attacking the opponent's joints, temple, neck,
palm utilizes both the inward contraction and between muscles, or in raking the ribs.
outward expansion (as shown in both illustrations While the chopping palm can be used as a "strike"
5 and 6) and it utilizes these motions with the in the percussive sense, it can also be used as a
palm facing up (yin palm) or down (yang palm). shearing force in the application of many chin na
(locking) and throwing techniques. The shearing
Performance of the Exercise: force of the chopping palm is used to control and
1) Begin in a "horse" stance with the palms held offset the opponent's body during a throw or lock
in by the ribs. See slow set photo 1. and can also be used to break the joints in the
2) Start this motion by bringing the left palm out application of chin na. For instance, if you caught
to the front of your body slightly and then curl the the opponent's wrist with one hand when he
fingers in towards the body while keeping the punched and then applied the chopping palm as a
palm facing upwards. Continue the twisting circular, upward changing to downward, shearing
motion of the left hand as the fingers move force to the area just above the opponent's elbow,
behind the back past the left flanks to the rear. this technique would be an excellent arm lock or
Begin to twist the hips to the left and start to arm break. This technique would be one that
throw the right palm across the body to the left would employ the inward contraction of the hand.
side. The palm is facing upward and the wrist is Another nice place to execute the cutting palm in
bent so that the hand is in the position of outward the inward contraction mode is just under the
expansion. While the right palm is moving across opponent's nose (on the upper lip). This strike is
the body to the left, the left hand is moving back executed with the palm facing down and the
behind the body to the right. The left hand is in shearing force moving across the opponent's face
the position of inward contraction with the palm and backward in order to throw his head back at an
facing up. The left hand is out away from the angle. This force is typically applied while you
body. Do not have it come in close to the back. have hold of one of the opponent's arms. During
The movement of the left hand balances the this maneuver you could also simultaneously be
motion around the body's center and facilitates a sweeping or trapping one or both of the opponent's
greater amount of twisting in the area of the torso. legs in the execution of a throw. The "phoenix
This twisting helps to open and stretch the muscles spreads its wings" motion from the eight animals
of the chest and mid back. In application, the form employs this kind of cutting palm application
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Lifting Palm Change (fast set)
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7
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to either the area under the nose or the back of the floating ribs, or hip joints. Striking to the hip
opponent's neck in the execution of throws or joints with the chopping palm while you have the
take-downs. opponent in a k'ou pu or pai pu leg lock is an
Although the chopping palm exercise was excellent way to off-balance the opponent. This
performed with the striking palm facing upward, type of low palm can be seen in the "bear" posture
in application the side of the palm can be used of the eight animals. Because this palm can be
with the yang palm (palm facing up) or the yin executed high or low with the palm facing up or
palm (palm facing down). Two consecutive down, it can be used to all eight directions.
chopping palms can be executed in combination On pages 116 and 117 we show two applications
with the palm changing from yin to yang of the chopping palm.
between the strikes.
This palm can also be applied high or low. Example 1:
Previously we discussed some applications with 1) The opponent begins to enter Park's defenses
the palm striking high to the face or neck, when by executing a fan chang maneuver. See photos
the palm strikes low it is used to strike the liver, 1 and 2.
117
2) Park hooks the opponent's left arm and begins action of the shoulders and hips. In this exercise, both
to slide his right hand up the opponent's left arm in palms actually deliver power and thus the
the execution of a chopping palm. At the same execution of this exercise gives the practitioner a
time, Park begins to execute a pivot step to the chance to get a good feel for how the body's power is
opponent's left side. See photos 3 and 4. supposed to be balanced in all of the exercises. After
3) Park continues to execute the pivot step to end gaining some experience with this exercise, the
up on the opponent's left flank as he executes a student should go back to the previous single palm
chopping palm application to the base of the exercises and try to execute them with the same
opponent's skull. See photo 4 through 6. feeling in the area of the hips and shoulders.
Notice that since Park has used a pivot step to In executing this strike one hand is thrown forward
move out to the opponent's flank he is now in a and out at a diagonal while the other hand and the
good position to follow the chopping palm body weight move towards the rear. The effect this
application with a variety of follow-up techniques exercise has on the chest area is quite interesting. The
to the opponent's back, side, and left arm. shoulder on the side of the hand striking to the rear is
thrown back and as the shoulder moves downward
Example 2: the ribs on that side compress. The other side of the
This example is similar to the last, however, body expands and opens up with the diagonal
instead of executing such a large pivot step, Park thrusting of the palm forward. Because the opposite
executes a shallower pivot and applies the palms are thrown in
chopping palm to the opponent's ribs. See photos 1 opposite directions at the same time, i.e. one left, up,
through 6.
and out, and the other right, down, and back, there is
a great deal of relative movement in the area of the
ribs and chest and thus these areas are conditioned
White Clouds Chasing the Stars Palm
and developed, once again, in a slightly different
manner.
Introduction: The previous four palm exercises in
Thus far in this chapter we have made frequent
this set were single palm exercises (one active
striking palm thrown at a time). For the next two mention of the relatively high degree of suppleness
palms we will be utilizing both palms and elasticity one should develop in the area of the rib
simultaneously in the striking phase of the exercise. cage, spine, hips, shoulders, and sternum. In this
This next palm, which we will refer to from here system of Pa Kua Chang, almost every upper body
on as "chasing the stars" for convenience, divides exercise the beginning student will practice is aimed
the body's energy and power down the center of at helping the body gain some degree of suppleness
the body. One hand strikes high and forward at a in these areas prior to the execution of the 48 month
diagonal and the other hand strikes low and to the palm strikes.
rear. The sequence of training begins with the three fan
This palm is primarily designed to teach the chang exercises (especially t'ien fan Chang) and the
student how to execute a powerful low strike in the first two breathing exercises. These sets begin to
rearward direction and a diagonal "clothesline" loosen up the practitioner's upper body in the areas of
type of force in the forward direction. The double the spine, ribs cage, and shoulders. The practice of the
palm combination executed in this exercise helps shaking palm, dragon back, and the single and double
the practitioner obtain a good feel for the balance palm change exercises also loosen the hips, shoulders,
of two equal and opposite forces being delivered in and spine. The standard eight ch'i kung set, the "hiding
a balanced way around the axis of the body's center. flower under leaf exercise," which are all presented in
As we discussed previously, all strikes should be this volume, are also exercises which continue to
executed with the "balancing of forces" principle in loosen the upper body and hips in a variety of ways, in
mind, however, in the previous exercises only one Park's school, all of these exercises are usually
palm was thrown. The balancing of forces in the practiced prior to the student learning the 48 month
one palm exercises came from the palms. Additionally, practicing each of the 48 month
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White Clouds Chasing the Stars Palm (slow set)
palm exercises at a slow pace with a concentration executing a low strike behind the body. At the same
on the correct movement of the upper body will aid time, the student is training how to execute a high
in loosening these areas. diagonally moving clothesline type strike in the
If the student begins to execute the 48 month palm forward direction. The energy of this upward
exercises with power prior to gaining a increased moving diagonal strike is very relaxed and is like
degree of suppleness in the upper body, the snapping a towel. The feeling is the same as one
"whipping" power that is developed in these gets when throwing a frizbee.
exercises will be weak. Having a stiff upper body After focusing on the rearward moving power,
and trying to produce power in these exercises thrown in combination with a forward moving force,
would be analogous to having stiff sections in a the student will notice that when he or she returns to
whip that you were trying to crack. Some power practicing any of the one sided striking exercises
will be produced, however it will not be full and practiced previously which utilize the "wing-nut"
crisp. The rule here is that the more suppleness and type of power, the ability to generate equal and
flexibility one can gain in the hips, shoulders, spine, opposite force around the body's central axis will
rib junctures, and sternum, the more whipping have improved. Intermediate level practitioners can
power can be effectively produced. also try to incorporate the dragon back mechanics
In summary, the "chasing the stars" exercise into this palm strike.
teaches the student how to use the body, back,
and shoulder in a relaxed natural manner in
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4) As soon as Park's strike lands to the opponent's hand as in executing a fan chang maneuver, the
bladder region, Park steps in through the exact same application could be executed to the
opponent's legs, taking away his root. The angle is outside.
such that it is easy to off balance the opponent with
this step. As he steps through, Park executes the Example 2:
upward diagonal striking palm across the Here Park will use the slapping palm and the
opponent's chest and throws him back. This palm chasing the stars palm in combination.
could also have been thrown to the opponent's 1) In this example, the opponent attempts to kick
throat in order to cause more damage. Park in the groin. As the opponent kicks, Park
As mentioned above, this is a risky move when pivots to get out of the way of the kick and
executed to the inside of the opponent. In order to executes a slapping palm strike to the opponent's
pull it off correctly, one must execute the technique knee at the same time. See photos 1 through 4.
with proper timing and angle and be aware of the 2) After striking the opponent's leg with the
opponent's ability to strike your side as you move slapping palm, Park immediately executes the
in. A less dangerous application of this nature can chasing the stars palm to the opponent's groin as he
be executed to the opponent's outside. If the continues to pivot to the opponent's side. See
opponent were to lead with his left photos 5 and 6.
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At this point it would be easy for Park to turn strike, however, learning how to generate power in
and step through the opponent's center while this palm striking exercise forges the alignments
executing the upward diagonal strike component and connections that will be valuable in any
of the chasing stars palm as he did in the last offensive or defensive employment of the single
example. This move will off balance the opponent palm change.
and cause him to fall to the ground.
Performance of the Exercise:
Sliding the Window Shutter to Look 1) Begin in a "horse" stance with the palms held
at the Moon Palm in by the ribs. See slow set photo 1.
2) Bring the right palm up in front of the face with
Introduction: This palm, which we will refer to the palm facing outward. The left hand comes to
from here on as "sliding the shutter" for a position under the right elbow. See photo 2.
convenience, is a double palm strike to the side of 3) Execute a fan chang maneuver by bringing the
the body with both palms striking on the same side left hand up under the right forearm. At the same
of the body, one high and one low. The mechanics time, turn the body to the left. The hips and
of this palm work to increase the practitioners shoulders also turn to the left. See photo 3.
ability to generate a centrifugal force around the 4) After the palms reach a position facing directly
central axis of the body with the energy like that of to the left, turn the hips and shoulders slightly
a tornado. back to the right with the palms remaining in the
Previously all exercises which employed the same position as in photo 3. This is the "wind up
mechanics of generating force around the body's before the throw" portion of the exercise. Now
central axis worked on the "wing-nut" principle. begin to bring the hips and shoulders back to the
This means that as one shoulder and hip moved left and start to turn the palms over. See photo 4.
forward, the other moved rearward and the 5) Continue whipping the hips and shoulders to
opposing forces were balanced around the center. the left and turn the palms to face to the left. This
In this palm strike, the energy of the body winds is the "unwind" portion of this exercise. See
up around the center and unwinds around the photo 5.
center, but it is then all whipped over to one side of During the wind up and unwind portion of this
the body as both hands strike in the same direction. exercise, the winding and unwinding are relatively
The circular path traveled by the hands during the small movements. This exercise will train the
wind up and the subsequent unwinding of the practitioner to begin to develop the ability to use
body in one direction will train the body to learn subtle movements to generate a great deal of
how to develop centrifugal "tornado" like power. power. The wind up and unwind are quick, small
The power radiates out from the center along a rotations of the torso around the center of the
circular path. body.
This type of tornado power has many 6) Begin to execute a fan chang maneuver while
applications in using both hands to strike the swinging the body 180 degrees to the right. See
opponent from a side angle. Learning how to photos 6 through 8.
generate power, strength, and connection in this 7) Repeat the exercise on the right side. See
manner also aids the student in his or her photos 9 and 10.
development in other aspects of Pa Kua
movement and application. For instance, this type Application in Fighting: This palm is used to
of winding and unwinding of the body around its strike the opponent's face and chest, side of the
central axis will develop the connections and body high and low, or the back and kidneys
power that the student will use in the execution of simultaneously. It also is effective in the execution
the single palm change motion. When employing of various throwing applications where the legs
the single palm change, the Pa Kua practitioner will are trapped or swept at the same time the arm
not always use the maneuver as a direct attack or motions are being applied.
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As with all of these palm strikes, the applications of if one were to use the sliding the shutter palm with
the strikes will vary depending on the distance and a leg trap in order to off-balance the opponent, you
angle the practitioner is positioned relative to his or could then follow-up with a clothesline type strike
her opponent. For instance, in the application of the across the throat or face. Changing from one to the
"sliding shutter" palms, if the practitioner is at a long other is very powerful and efficient.
range from the opponent, the strike is applied as a
shock strike with the wrists articulating as they do in Follow-on 48 Month Palm Training
the throwing palm exercise. That is, the wrist will be
loose and the hands will flex as the strike hits the After the practitioner has gained a suitable amount
opponent. However, if the practitioner is at close of experience with the eight palm exercises as
range, this motion may better be employed in the explained thus far in this chapter, he or she will
execution of a throwing technique. There are many then begin to combine the palm strikes with the
various applications of all the palm strikes "eight direction rooted stepping" drills which were
depending on the distance and angle one obtains. presented in the first volume of this book. Through
On the next page Park demonstrates an application this practice the student will learn how to employ
of the sliding shutter palm. the palm strikes while moving.
1) The opponent tries to get inside Park's defenses It is important that any exercise which is
by executing a fan chang maneuver. See photos 1 practiced while standing in a static posture also be
and 2. practiced while the practitioner is executing the
2) Park steps in and blocks the opponent's arm footwork techniques of Pa Kua Chang. Once the
with his forearm. See photo 3. student learns how to develop the proper
3) Park begins to pivot around his right foot in mechanics of motion through static exercises, if he
order to move to his opponent's flank. See photos 4 or she does not also learn how to properly utilize
and 5. the mechanics and generate the power while
4) Park extends the pivot to get some distance moving, it will be difficult for them to use these
between him and his opponent so that he can strikes in a fighting situation.
execute a shock strike to the opponent's kidneys. He After the student has practice each of the 48
begins to apply the sliding shutter strike. See photo month palm strikes in combination with basic
6. straight line and pivoting footwork drills, he or she
5) Park applies the sliding shutter strike to the will then work to develop palm striking
opponent's kidney area. See photo 7. From here combinations. This can first be practiced in a
Park is in a very good position to follow up with standing posture and then later with the footwork.
more strikes to the opponent's back and head. In practicing 48 month palm striking
As a variation to the entry Park has utilized in combinations, the student learns which palms can
photos 1 through 4, if he had stepped in deeper and effectively be used together. A rule of thumb Park
placed his right leg behind his opponent's left leg, he tells his students when they begin to practice
could have stayed in close to his opponent and combinations is that the most effective striking
executed a throw by simultaneously sweeping the sequences always change between yin palm and
opponent's leg and executing the sliding shutter yang palm and vice-versa. For instance slapping
technique across the opponent's neck and chest palm followed by lifting palm is a good
areas. Also, as another variation, Park could have combination because slapping palm is yin and
executed the "chasing star" palm to the opponent's lifting palm is yang. In the same sense, the lower
groin after he positioned himself as shown in photo "chasing the stars" palm followed by the upper
4. "chasing the stars" palm, as shown in the
As a possible follow-up to most applications of application example on page 122, is a good
the sliding the window palm, the practitioner combination. Also a yin chopping palm applied
might choose to execute the upward directed to the temple which is immediately followed by
strike of the chasing the stars palm. For instance, a yang chopping palm to the neck is also a good
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to "throw" the intention out with the strike so that should not be solid or too thick. The papers are
the ch'i will extend out beyond the palm. In not tightly bound, but loosely stacked. Hitting a
practicing the palm exercises without hitting one foot stack of papers has cushion enough that
anything and extending the intention as if the practitioner is not at risk of being damaged by
throwing something far away, the student learns hitting something too hard.
how to properly use the mind and body together. An object that is too heavy or hard will not
If the student started hitting a bag before he or she only give too much resistance to the strike, but the
learned how to properly coordinate the mind and c/i'/that exits the practitioner's palm will be
body, the practitioner's intention would end at the blocked by a thick, heavy object. Park says that a
surface of the bag and not extend into or through heavy object has "dead" ch'i. If an object that is
the bag. heavy is struck, the ch'i that leaves the
Another reason, which has more to do with practitioner palm can come back into the
physical health than striking technique, is that practitioner's body and cause problems. Park says
practitioners who try striking bags before their the ch'i in the hand is "live ch'i." When it leaves
body is externally and internally connected will the hand, it becomes "dead ch'i." The heavy
run the risk of either damaging themselves or object will turn the ch'i back and it will re-enter
creating bad habits. Internal martial arts strikes the hand as dead ch'i. This could cause some ill
are executed in a relaxed manner. The effects.
practitioner can remain relaxed and hit an object Some practitioners have the idea that if you are
only if the body alignments and connections are going to fight someone who weighs 200 pounds,
such that the force of the strike comes from the you should practice by hitting a 200 pound bag.
ground. If the practitioner's connections and This is a very external "force against force" way
alignments are off, the force coming back into the of looking at fighting. In the internal martial arts
practitioner's body as a result of the strike can you should never hit someone in a manner that
easily damage the wrist, elbow, or shoulder. you take the brunt of their weight. Before you
In order to compensate for this force, beginners apply a strike you always ensure that you have
will tighten their muscles as if executing an off-balanced the opponent or that you are hitting
external style strike. This will cause bad habits to them at their weakest angle. If the strike is setup
form. Therefore, Park does not teach students properly, you will never need to fight against the
apparatus training until their body alignments and opponent's weight.
connections have been properly executed in the After the student in Park's school has learned
"air striking" practice and their mind/body all of the exercises, combinations, and forms as
connection is correct in the way they use their discussed above, he or she will then begin to
intention when striking. Park can watch someone learn how to execute the 48 month palms in
strike into the air and tell if they are "holding the conjunction with the pole training described in
ch'i" or "extending the ch'i. When they can extend Chapter 3. In practicing these exercises and forms,
the ch'i properly in the basic training exercise, and the student will learn how to utilize the 48 month
demonstrate proper body alignments, they are palm mechanics and power while executing very
ready for apparatus training. Even after the quick turning maneuvers, sharp changes of
student begins the apparatus training, there are direction, and small circle or spiraling footwork.
certain rules to follow to ensure that the
practitioner's training is safe. Each of the
apparatus that is struck during the exercises has a
certain amount of flexibility and "give." In Park's
school students never strike heavy bags. All the
apparatus is fairly light and/or has plenty of
cushion. For instance, one of the exercises
practiced with the slapping palm uses a one foot
pile of newspaper on a wooden table. The table
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Sliding the Window Shutter to Look at the Moon Circle Walking Form
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Sliding the Window Shutter to Look at the Moon Circle Walking Form (con’t)
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The Supplemental Palms
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Piercing Palm (slow set))
The hip and shoulder should move in a coordinated shoulders. The right hips and shoulders are
manner as described in the last volume when we projected forward while the left hips and
presented the shaking palm exercise. As the left shoulders are pulled back with equal and
palm comes forward it should rub under the right opposite force. See photos 5 and 6.
forearm as it shoots directly forward in a stabbing 5) Repeat the sequence in the left side one
motion. The fingers of the left hand point directly more time. See photos 7 and 8. You have now
forward. At the last instant, as the fingers are about executed three consecutive piercing palms.
to reach their farthest extension, the wrist bends and These three strikes should be executed in rapid
the fingers turn to point slightly upward. This succession. Three strikes in rapid succession
movement adds penetrating power to the strike and constitutes one execution of the exercise. On
helps move the ch'i to the fingertips. See photos 3 the next repetition the practitioner will start
and 4. with the left hand forward and the right hand
4) Execute the same maneuver, however, this under the left elbow as shown in photo 8.
time bring the right hand under the left forearm. In executing the piercing palm three times in
Once again, this motion is driven by the hips and rapid succession, the student learns how to move
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Piercing Palm (fast set))
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the hips and shoulders rapidly and crisply around the practitioner will want to follow that with an
the body's center line. Remember that the hips elbow strike to the same area the palm hit. This
and shoulders should remain loose and supple as finger, palm, elbow combination is executed in
this movement is executed. If the body is stiff, the very rapid succession. There is no hesitation
movements will be too slow. between strikes.
When throwing the one-two-three
Application: The three piercing palms thrown in combination, the retracted palm only comes back
rapid succession typify the "jab, bridge, finish" as far as the elbow of the extended hand. This
sequence which we discussed in Chapter 2. One helps the structural speed and also helps the
might use the first pierce to gain a reaction from piercing palm bridge onto a counterattack thrown
the opponent. This pierce is thrown straight out at by the opponent. Also, when throwing these
the opponent's eye. If he blocks it, which we strikes, the thumb does not stick up and the
assume he will, then the next pierce is thrown to fingers are slightly bent. Having the fingers
the opposite side of the opponent's blocking arm. slightly bent will cause the fingers to fold inward
If the opponent misses the block, then the strike instead of backward if the strike hits a bony area
extends right into the opponent's eye. such as the cheek bone.
If the second piercing palm is blocked, the What we have described here thus far in this
practitioner once again throws another to the section is the technique known as the "upper
opposite side of the opponent's blocking arm. piercing palm." There is also a "lower piercing
However, in the execution of the second piercing palm." This palm is practiced in the exact same
palm, the practitioner has utilized his or her manner as the upper piercing palm. However, the
footwork to get in closer to the opponent and off rear hand rubs across the top of the forward arm
to a optimum angle for attack. If the opponent in the execution of the strike, and the strike is
misses the second strike, again he is gouged in the aimed down at about waist height. The lower
eyes. piercing palm is a good technique to use in
If the opponent has blocked the first two blocking strikes which the opponent is attempting
piercing palms, the practitioner should have to deliver to your abdomen.
planned the sequence such that while the When striking with the lower piercing palm,
opponent was busy blocking the first two, the set one of the prime targets is the inguinal crease
up for the third to hit its mark has occurred. In (inside of the leg where the upper leg meets the
order for this to happen, it is imperative that the torso). This area is full of nerves and a piercing
practitioner has utilized the proper footwork in strike here is very painful. This strike also
the execution of the first two strikes. Of course weakens the joint, momentarily allowing you to
the proper footwork will be dictated by the execute the "bear" movement from the eight
opponent's responses to the first two strikes. animals form to the inner hip joint as you sweep
When the third strike is executed, it is either the leg.
aimed at the opponent's eyes or throat for best
results. Because the strike is a straight forward As the Pa Kua combinatorial analysis would
stabbing strike with the finger tips, the dictate, all possible executions of every palm shape
practitioner will want to hit an area of the and striking direction should be explored in training.
opponent's body that is soft, like the throat or You will have noticed that thus far we have only
eyes. discussed executing palm strikes with the fingertips
After the piercing palm has hit the opponent's while the palms are facing to the side (palm facing
throat or eyes, it is a good idea to follow left or right), but do not think that the techniques
immediately with a slapping palm to the end there. Striking with the fingertips while the
opponent's face or chest. The hand is not drawn palm is facing up and when the palm is facing
back in the execution of the this slapping palm. downward are also techniques which are trained as
As soon as the fingers jab the eyes or throat, the piercing palm variations. If you examine the
wrist of that hand is bent and the palm comes "dragon flying" and the "phoenix" postures of
straight in to strike. As soon as the palm strikes, Park's eight animals (as shown in the
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last volume of the book) you will see that these palm 1) Begin by bringing the right hand up in front of
shapes are represented. Also, you will notice that the the face with the palm facing up and the fingers
third elbow training set has a component where the facing to the right. The left hand comes up over
palm is piercing in for a fingertip strike to the throat the head with the palm facing upward. The left
with the palm facing upwards. palm and left arm should be held out away from
the head. The hips and shoulders are rotated to
the left. See photo 1.
Swallow Penetrates Through 2) Allow the left hand to begin traveling out along
the Forest Palm a circular arc to the left as the right wrist straightens
out and the fingers of the right hand point out
Introduction: The "swallow penetrates through the away from the body. The hips and shoulders
forest" palm is an exercise adapted from one of the begin to rotate towards the right as the body
eight animal circle walking postures. Like the last moves around its central axis. See photo 2.
exercise, this one also employs the mechanics of the 3) The left hand continues to arc out away from
shaking palm, however, its hand and arm the body and the hand turns so that the palm is
facing downward. The right palm also turns to
movements are much more complex.
face down and away from the body. See photo 3.
The arm and palm movements executed in this 4) The left palm continues along the circular arc.
exercise teach the student how to get power in the When it gets to about the level of the shoulder, the
execution of circular motions. In the practice of this fingers point downward and the palm begins a
exercise both hands are constantly following circular scooping motion. The right palm turns out away
and rotational patterns of movement. It is much from the body. See photo 4.
harder to learn how to get power in these type of 5) The left palm continues along the circular arc
circular and rotational patterns as compared to linear now cutting in towards the body in a scooping
methods of striking. Thus, this exercise is a valuable action. As the left palm scoops across in front of
training tool. the body, it comes down to about the level of the
As in many other of the palm striking exercises, the hips. At this point in the motion the hips and
wrist action in this exercise is extremely important. shoulders should be about square to the front.
Both hands are actively involved in this exercise and The right palm begins to turn to face upward. The
eyes follow the left palm. See photo 5.
at the very end of the strike the flicking motion of the
6) The left palm continues along its circular arc as
wrists provides the follow-through.
it begins to come up the right side of the body.
The palm is still performing the scooping motion.
Performance of the Exercise: The right palm continues to turn upward. The
hips and shoulders are continuing to turn to the
In the slow set example of this exercise you will right. See photo 6.
notice that Park is standing with his feet held together 7) The left palm continues along its circular arc.
However, now it begins to also move away from
instead of in the horse stance posture. This is a
the body towards the front as it comes up the right
variation of training which can be performed in order side of the body (actually it is moving along the
to provide a different type of stretching in the area of body's center line, however since the hips and
the hips. This kind of stance is only practiced on the shoulders are turned to the right, it looks as if the
slow set. You can also stand in the standard "horse palm is moving up on the right). The right palm
riding" stance as in all of the other exercises. This continues to turn upward. See photo 7.
variation is shown here in the slow set just as an 8) The left palm continues its circle with the palm
example of how this particular exercise might be now facing upward and hooking back across the
varied for a different effect. The exercise is body. The fingers point to the left. The right palm
performed as follows: is now facing upward and the arm is held up over
the head, but not too close to the head. See photos
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1) Park's opponent grabs his right wrist. See coordination exercise. The rotation of the shoulder
photos 1 and 2. joint forward and then backward in this exercise is
2) As soon as the opponent grabs, Park begins to very therapeutic and enhances the flow of ch'i to the
execute the swallow penetrates through the forest arms. When this exercise is performed slowly, a
movement. The right hand turns up as the left great deal of ch 7 can be felt because of the "rest
hand pierces. Park begins to step in towards the stretching" of the ligaments, tendons, and nerves on
opponent. See photo 3. the ulnar side of the arm.
3) Park continues stepping in towards the
opponent while his right hand turns upwards and Performance of the Exercise:
his left hand pierces inside the opponent's right
1) Begin in a wide "horse" stance with the arms
arm and up behind his neck. As the hand is placed
held extended out to the sides with the palms
behind the opponent's neck, Park's left foot has
facing up. See slow set photo 1.
stepped in behind the opponent's right foot. See
2) Begin to round the lower back so that the small
photos 4 through 6.
of the back projects rearward and the sacrum
4) Park now shifts his weight to his left leg and
tucks under. As the lower back rounds, also begin
begins to execute a pivot step, pivoting around his
to round the upper back as the palms come
right leg, as he pulls down on the opponent's neck
downward and turn to face the rear. The wrist
in a circular arc. See photos 7 through 9.
action cause the palms to "slap" at the very end of
5) At this point Park could continue with the
the strike.
momentum of this motion and throw the
The power for this strike comes from the psoas
opponent. However, typical of Pa Kua Chang
muscle and the intercostal muscles between the ribs
technique, Park decides to change directions. As
in the front of the body. The contraction of the psoas
the opponent's momentum brings his head toward
muscle provides the power for the tucking under of
the ground, Park brings up his knee to meet the
the pelvis while the contraction of the intercostal
opponent's head. See photos 10 through 12.
muscles allows the chest to hollow and upper back to
round. See slow set photos 2 through 4.
Three Basins Settling to 3) From the rounded back and buttocks position
the Ground Palm of the previous strike, you now open up the chest
and project the hips forward as you bring both
Introduction: As stated previously, the last two palms up diagonally and out to the sides. The
palm exercises aided the practitioner's understanding motion of the arms is as if you are holding a frisbee
and development of the mechanics of the shaking in each hand and throwing the frizbees directly
palm exercise. The next two exercises will add to the out to both sides. The arms perform a whipping
student's understanding of the dragon back exercise. motion and so the shoulders, elbows, and wrists
In the dragon back exercise and the double palm must be very loose. At the end of the strike the
change exercise which were described in the last wrists' movement allows the hands to extend
volume of this book, the student learned to generate outwards. See photos 5 and 6.
power in a forward directed double palm strike by 4) For the last strike of this sequence, the
executing a segmented whipping of the spine. The practitioner will perform a full dragon back motion.
"three basins settling to the ground palm" adds to the With the first roll of the spine, the hands are
double palm strike technique by teaching the student brought in slightly. See photo 7. As the second
how to develop double palm striking power to the "cracking of the whip" roll of the spine occurs
rear, the diagonal, and to the side. both hands are thrown out to the sides and the
This palm exercise is usually taught fairly palms turn to face outward. See photos 8 and 9.
early in the training program (shortly after the student In Park's school, the "three basins settling to
has become comfortable with the dragon back the ground" palm is also practiced with one palm
exercise) as a shoulder loosening, flexibility, and at a time. Practicing with one palm allows the
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Three Basins Settling to the Ground Palm (fast set - front view)
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Three Basins Settling to the Ground Palm (fast set - side view)
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student to learn how to combine the dragon Embracing the Moon at the Chest
back motion with the shaking palm Palm
mechanics of turning the hips and shoulders
around the body's central axis. This one Introduction: This is another strike which trains the
sided execution of this exercise is also the use of the dragon back mechanics. This strike is a
more practical in terms of application. double handed strike where one hand is used to
support the other almost like a Tai Chi "press."
Application: The double palms version of This exercise teaches the student how to use the
this exercise is more an exercise used to dragon back mechanics of the spine with a "store
develop certain body strengths and and release" technique of the arms. The motion of
connections than an exercise which is tied to the back and the arms in combination with a
any particular martial application. However, supple wrist action provides a great deal of power
the single palm version of this exercise has with relatively little motion, thus making this a
quite a number of practical uses. very good "inside" fighting technique.
When executing the downward strike to
the rear, this palm is applied exactly like the Performance of the Exercise:
rearward striking palm of "chasing stars"
palm. Similarly, the upward diagonal striking 1) Bring the right hand up in front of the face and
phase of thisexercise is applied like the the left hand up under the right elbow. See photo
upward strike of the "chasing stars" palm. 1.
These two palms can be applied as a 2) Begin to curve the right hand inward (palm
combination of either low/high or high/low. facing towards you) as you bring the left hand up
The third strike of this sequence can be used along the right forearm with the left palm facing
whenever the practitioner needs to strike the right forearm. See photo 2.
directly to the side of his body. 3) Turn the body 45 degrees to the right as you
bring the left palm up to press against the right
palm. At this point the elbows are bent and the
arms relaxed. See photo 3.
4) Execute the dragon back technique with the
spine. As the power comes up the back allow it to
whip out the arms. The arms press outward and
146
1 2 3 4 5
6 7 8 9
10 11 12 13 14
147
at the last moment the right wrist snaps body properly, learn efficient body mechanics,
forward as the left hand supports it from and train various secondary muscles groups in
behind. See photo 5. the area of the torso and back so that all of the
The motion of this exercise is almost as if body's muscles work together in an integrated
you are squeezing a big rubber ball between your fashion. In practicing thousands of repetitions
arms and chest and trying to press it inwards of the shaking palm, dragon back, forty eight
into a elongated sphere against its wanting to month palms, and the supplemental palms the
spring back out into a round shape. As the student will be able to naturally develop all of the
dragon back whips out the arms, you visualize necessary components of subtle striking power.
that you cannot hold the force of the ball back Not only do these exercise teach the student
any longer and the ball springs back to its how to strike in all directions in a variety of
original round shape. different ways, but in practicing the entire set,
There are a couple of slight variations to the student's body is conditioned fully.
this palm exercise. The first is to press the left After the student has practiced all of the
palm against the right forearm when palm exercises as they are outlined in the two
executing the strike. Instead of flexing the wrist volumes of this book, he or she should then
to get power, the forearm rotates crisply as the begin to practice the same exercises, yet
strike is applied. This type of movement is decrease the amount of movement. In other
applied against the opponent's joints. Another words, make the movements more subtle by not
variation is to have both palms facing outward drawing the hands back so far between
away from the body. This variation is usually repetitions. When working to develop this
practiced and executed in combination with the "short" power, the suppleness of the joints and
first exercise. In other words, the practitioner the flicking or snapping of the wrist becomes
will strike with the back of the wrist and then very important. As mentioned previously,
immediately turn the forward palm over and the joint articulation not only helps to optimize
strike with the palm while the rear palm the mechanics of the motion, it also increases
remains in support. the flow of energy to the palms.
After you have put in a sufficient amount of
Application: This palm strike is usually time in the practice of these exercises, you
applied to the areas of the floating ribs, liver, should then begin to incorporate these
spleen, or kidneys. The strike provides a sharp movements in with the single palm change
shocking effect to these vital areas of the body. variations which are presented in Chapter 4.
Additionally, this strike may be applied from a
very low posture to the opponent's hip joints
while the forward foot is hooked around the
opponent's front foot in order to offset the
opponent's balance. The one two combination
described above where the first strike is applied
by the wrist and the second strike with the palm
in quick succession is also quite useful. Usually
the first strike is applied to the opponent's
floating rib and the second strike applied to
the liver or spleen areas.
148
Chapter 6
Pa Kua Chang Elbow Training
149
Chapter 6
Pa Kua Chang
Elbow Training
The Pa Kua Chang practitioner is an expert in the timing of that rotation. As in all exercises, the
use of the elbows. Elbows are used in all aspects student will first practice slow and exact, then
of offensive and defensive action. They are used gradually increases the speed, then adds power,
for striking, locking, trapping, sticking, redirecting, then combines speed and power, and then
and "listening." In this sense, the "elbow" does not executes the strikes in combination with footwork.
just include the pointy protuberance of bone at the After the student learns the basic blocking
junction of the radius, ulna, and humerus. Here the exercises, he or she will then combine these
"elbow" will also include parts of the forearm and exercises with the "shaking" palm exercise which
upper arm. When using the elbows in striking, the was presented in the first volume of this book.
Pa Kua practitioner will target many areas of the There are various combinations of basic blocks
opponent's body. used in conjunction with the shaking palm that the
The main target areas used when applying the student will learn and then practice. Again, the
elbows are the vital points and areas around the practice is first executed slow and exact, then with
opponent's joints. Elbows can be effectively speed, then with power, then with power and
applied to the opponent's wrists, the back of his speed, and then with footwork. These simple
hands, his elbows, shoulders, hips, knees, ankles,
combinations introduce the student to the first
and head. Of course, the opponent's torso, front
level of "speed combination" exercises.
and back, especially the areas of the spine and
Next the student will learn and practice a set of
sternum, are also nice targets for the elbow. Elbow
eight different elbow and palm striking
strikes are effectively used in combination with
palms strikes, punches, and other elbow strikes. combinations. Some of the exercises in this set are
The manner in which the elbows are used in a combination of various elbow striking patterns
fighting will always depend on the distance the while others combine elbow strikes with palm
practitioner is from the opponent, and the angles strikes. Each of the eight exercises combines
of efficient application. anywhere from two to four strikes and/or blocking
In Park's school the use of the elbows is trained maneuvers. Once the student has practiced these
in several progressive stages. First the student will exercises, he or she will then learn be taught a
learn several basic elbow blocking, or clearing, linear set which utilizes the elbows, and then an
maneuvers which are practiced as static exercises. eight section circle walking form which integrates
These drills teach the student how to effectively the elbow striking exercises. Here the student
use the forearms in blocking, adhering, and learns how to incorporate the use of the elbows
redirecting. In these exercises emphasis is with the continuous circular patterns and twisting,
place on the use of forearm rotation and the proper rotating, and turning motions of Pa Kua Chang.
Another stage of training the student in
Park's
150
The Basic Elbow Exercises
The basic elbow exercises of Park's system are this rotational energy, the block will be
designed to teach the student how to begin to effective without being percussive or invasive.
learn simple high/low, left/right blocking Additionally, the practitioner will be able to
patterns using the forearms and then combine "stick" to the opponent's arm and redirect the
those patterns with the shaking palm strike. force without the use of muscular strength.
These exercises introduce the importance of The skill is in the timing of the motion and the
using a rotational motion of the arm around angle of the redirecting force.
the arm's central axis in deflecting an At the very beginning level, there are
opponent's strike, adhering to their force, and two basic exercises which are practiced and
redirecting that force. In all of these exercises, then several variations are added. The two
the power is provided by the turning of the basic blocking exercises are designed to
body around its central axis (as in the shaking teach the student to be able to block strikes
palm exercise), and the "skill" of the coming in towards the face and chest from
movement is in the rotation of the forearms in high and low, left and right, and from
redirecting the opponent's force. various diagonals. These exercises are very
If the practitioner blocks an opponent's strike simple, but they will form the foundation for
with his or her forearms and times the rotational more subtle and precise movements and
motion of the forearm properly so that the applications which are taught in the later
opponent's force is intercepted and redirected by stages of training. In practicing these simple blocking
151
motions the student focuses on the timing of the the left hand under the right elbow as shown in
body rotation with the rotation of the forearms photo 1-2 below.
and changing of the palms. 3) Turn the body to the left around its central axis
(hips and shoulders moving together). As the
Exercise 1: body moves, the forearm rotates and the palm
This exercise is designed to teach the student changes to face the body. The elbow, forearm,
how to block with the forearm in a simple and hand remain aligned along the center of the
horizontal, inside and outside, blocking pattern. body. The bottom palm also rotates to turn
One important detail in regards to alignment; upward. See photo 1-3.
when you are executing any of these blocking 4) Turn the body back to the right keeping the
motions, keep the forearm angled no less than hips and shoulders aligned. As the body turns,
135 degrees from the upper arm. If the angle the forearm rotates once again and the palm
decreases, you will lose your naturally aligned changes to face away from the body. The hand
strength. You can easily test this. Extend your remains in front of the face. See photo 1-4.
arm out so that the upper arm is parallel to the From this position you can continue this
ground and the forearm is angled between 135 identical motion back and forth in continuous
and 165 degrees from the upper arm. Have a repetitions with the right hand, or you can
partner push on your hand. Feel the strength and alternate the hands after each repetition. That is,
connection. Now bring your forearm up to a 90 you can block with the right hand to the inside,
degree angle from your upper arm (elbow bent at then right hand to the outside, followed by a
a 90 degree angle). Have your partner push your block with the left hand to the inside and the left
hand toward your face. You will find that in order hand to the outside. It is best to start out
to resist, you have to use muscle force, whereas practicing continuous repetitions on one side at a
before you could use naturally aligned strength. time, until you get the timing and motion feeling
You always want to maintain that naturally natural, before you try to practice the alternating
aligned strength throughout these exercises. sides variation of this exercise.
Once you have practiced this exercise
The exercise is as follows: sufficiently in a slow and exact manner, you will
1) Begin in the "horse riding" stance as shown in then gradually increase the speed while trying to
photo 1-1 below. remain relaxed and smooth, you will then try to
2) Bring the right hand up in front of the face and execute the movement "with power." The power
1-1 1-2
1-2 1-3
1-3 1-4
1-1 1-4
Basic Blocking Exercise # 1
Basic Blocking Exercise # 1
152
along a diagonal instead of horizontal. If you
look at the photographs for exercise #1, you
will notice that Parkʹs elbow moves along a
horizontal plane (parallel to the ground)
while his forearm remains vertical
(perpendicular to the ground). In the
second exercise the forearm is angled (see
photo 2‐3 on the top of the page) and the
motion follows a 45 degree diagonal as the
right forearm first blocks down and to the
left (photo 2‐3) and then up and to the right
(photo 2‐4). This exercise is usually only
practiced on one side at a time. The two
sided (alternating sides) version of this exercise
2-1 2-2 2-3 2-4
is practiced in conjunction with the shaking
Basic Blocking Exercise #2
palm
V1-1 V1-2 V1-3 V1-4
Basic Blocking Exercise #2
here is in a quick crisp rotation of the hips along a diagonal instead of horizontal. If you
and shoulder around the body's central axis, look at the photographs for exercise #1, you will
combined with a quick and crisp rotation of notice that Park's elbow moves along a
the forearm. Do not try and place too much horizontal plane (parallel to the ground) while
of the "power" in the side-to-side motion. his forearm remains vertical (perpendicular to
The emphasis and "snap" of power is in the the ground). In the second exercise the forearm
rotational motion of the forearm. Also, do not is angled (see photo 2-3 on the top of the page)
let the arm move too far to the outside when and the motion follows a 45 degree diagonal as
blocking. The side-to-side motions should be the right forearm first blocks down and to the
relatively small. left (photo 2-3) and then up and to the right
(photo 2-4). This exercise is usually only
Exercise 2: practiced on one side at a time. The two sided
The second exercise is performed exactly like (alternating sides) version of this exercise is
the first, except the blocking motions are now practiced in conjunction with the shaking palm
153
V2-1 V2-2 V2-3
Basic Blocking Exercise #2
photo V2-3) and then bring the left hand up and
strike (see photos on page 156). across the front in the same manner. You will
continue this right-left alternating pattern in a
Variation #1: crisp and rapid manner. This exercise helps you to
The first variation of the basic exercises is an learn how to gain speed in motion while
exercise which combines the horizontal block of the maintaining proper mechanics and accuracy.
first exercise with the angular block of the second
exercise. In this blocking variation, the student will While all of these blocking drills might seem
first block inward, however, the hand remains in relatively simple, practicing these exercises will
place while the elbow moves in and across the body. form a foundation for all of the exercises which
This motion requires an increased degree of follow. Therefore, a serious study of these simple
flexibility in the area of the shoulder, elbow, and exercises will be to the student's advantage later
forearm (see photo VI -3 on the previous page). on.
After the inside block is executed, you execute
the same upward outside block which was executed Basic Blocking Combined with Shaking Palm
in the last exercise (see photo Vl-4). Ideally, you Once the student has spent some time
will want to keep the tip of your middle finger fixed practicing the basic blocking drills, these
in space as you block back and forth across the movements are combined with the shaking palm
body. In keeping the tip of the middle finger fixed exercise which was presented in the first volume
in space and directly in front of your face, you will of this book.
always be covered, and you will learn how to
effectively block with your forearms and elbows Exercise #1:
while executing very small lateral motions. In this exercise, the shaking palm is combined
with the inward elbow block of the basic
Variation #2: blocking variation # 1. As always, the student
The next exercise is a variation of the first first practices this motion slow and exact. The
blocking drill. In this variation you will only sequence is shown in the photographs at the top of
execute the inside blocking portion of the first the next page. In photos 1 through 3, Park is
exercise. In other words, you will bring the right shown executing the shaking palm movement as
hand up (see photo V2-2) and across to the front it was detailed in the previous volume of this book.
in the execution of an inside blocking motion (see After the strike of the shaking palm reaches it peak
154
1 2 3 4
Basic Blocking Combined with Shaking Palm #1
power, you will want to let the inward elbow elbow (see photos 1 and 2 on the next page).
blocking motion naturally follow the recoil of the 2) The right arm moves across the front of the
arm (see photo 4 at the top of the page). The body to block. This movement isexecuted like the
movement from start to finish should look as horizontal block which was practiced in the first
though it is one continuous motion. As soon as the basic blocking exercise. The forearm rotates and
wrist has "snapped" and the whipping power of the the palm turns toward your face. The hips and
shaking palm has been applied, you will shoulders rotate around the body's center and
immediately and crisply rotate your forearm so that move to the left. The left hand stays by the right
the palm turns to face upward and you will bring elbow. Both palms are facing upward (see photo
your elbow in towards your centerline. 3).
Once you have completed the exercise on one 3) You will now thrown the shaking palm with
side (as shown above) you will then execute the the left hand while blocking high and at a diagonal
same sequence with the other hand. The practice of with the right hand. The right hand block is
this exercise is very fluid as the practitioner thrown like the block you practiced in the second
alternates throwing the shaking palm from one side basic blocking exercise (see photo 4).
to the next. This exercise provides a good 4) As soon as the left palm is thrown, the forearm
foundation for the two handed exercise which rotates crisply and the elbow is brought in towards
follows and for elbow exercise #8. the centerline of the body. This movement is
exactly like the movement practiced in the last
Exercise #2: exercise. The right hand comes down by the left
In this exercise, the student will take the elbow. Both palms are facing upward (see photos
movements which were practiced in the previous 5 and 6).
exercise and involve both hands in the blocking and 5) Now you are ready to throw the strike on the
striking maneuvers. This exercise combines several other side. Throw a right shaking palm while
of the previous blocking exercises with the shaking blocking upward and at a diagonal with the left
palm exercise. hand (see photos 7 and 8).
The exercise is now repeated from side-to-side.
The exercise is executed as follows: You should practice until you can execute this
1) From the horse stance, you will bring the hands exercise with continuity, speed, and power. You
out in front of the body. The right hand is in front will notice that this exercise combines the
of the face and the left hand is under the right movements of several of the previous exercises.
155
1 2 3 4
5 6 7 8
Basic Blocking Combined with Shaking Palm #2
Experience has shown that students who have book.
not practiced the previous exercises for a After you have gained a sufficient amount
sufficient length of time will have problems of experience in the practice of these blocking
learning how to execute this exercise properly. elbows, you may want to try a partner exercise
Practice of this particular exercise will then lead which helps you to understand how these
the student into the practice of Park's straight blocks are used in combination with the eight
line Pa Kua Chang combat sets. direction rooted stepping footwork. The drill is
We will not present the straight line combat to place one arm behind your back and have a
sets in this book. However, if you have practiced partner attack you. He can attack high and low,
the "eight direction rooted stepping" footwork left and right, continuously and you have to
and combined it with the shaking palm as we defend all of his attacks using only one arm in
presented in the previous volume of this book, combinations with footwork. If you know how
you should be able to easily express this blocking to use your footwork in combination with the
and shaking palm movement in combination with blocking exercises shown in this section, you
the jump step. The majority of Park's straight can be successful in blocking all of your
line combat sets are simple exercises which opponent's attacks. The key is in the footwork.
combine the palm, elbow, kicking, and footwork
exercises which have all been presented in this
156
The Eight Elbow Combinations Drills
1-1 1- 2 1- 3 1-4
1-5 1- 6 1-7
2-1 2- 2 2- 3 2-4
2-5 2- 6 2-7
opponent's head. as shown in photos 2-1 through 2-3.
When practicing this exercise with stepping 2) Following the horizontal elbow strike, you will
movements, you can practice executing the jump immediately rotate the hips and shoulders back to
step with the first elbow and then another jump the right and use that momentum to throw a
step with the second elbow, or you can execute a downward striking elbow. The mechanics of this
jump step with the first elbow and then a pivot step elbow in the area of the torso are similar to that of
with the second elbow. the slapping palm. As the elbow is thrown, the fist
rotates so that the back of the fist is facing away
Elbow Exercise 2: from you. The bend in the elbow is no less then
135 degrees. A common mistake is to have the
The second elbow exercise builds on the first elbow be bent at a 90 degree angle when throwing
exercise by adding a downward striking elbow to this downward strike.
the one-two combination of the first exercise. This 3) After executing the one-two-three combination
exercise is performed as follows: on the right side, continue the exercise by
executing the sequence on the left.
1) Execute the same steps as the previous exercise
In application, the third elbow is used to strike
159
3-1 3- 2 3- 3 3-4
vital areas on the opponent's legs and arms when he kicks or punches. In
many instances, when Park is applying this elbow to an opponent's ankle or
wrist, he will catch the opponent's ankle or wrist with his other hand moving
upward under the ankle or wrist in order to produce a "sandwiching" effect.
This third elbow strike can also be a nice follow-up to the combination
discussed previously where the first upward moving elbow slips inside an
opponent's attack and the second horizontal elbow strikes his head. After the
second elbow has connected with the opponent's head, the third strike can
come down and smash the opponent's collar bone.
Elbow Strike 3:
3-9
The third elbow combination of this series is similar to the first.
However, instead of throwing the upward elbow followed by the
horizontal elbow, this exercise will begin the sequence with the horizontal elbow
160
4-1 4- 2 4- 3 4-4
4-5 4- 6 4-7
After the horizontal elbow is thrown, the right angle of the upward and horizontal strikes of
downward striking elbow is executed as in the last the previous two exercises). See photo 3-2.
exercise. In this exercise, as a tag to the end of the 3) Now execute the downward elbow strike as it
downward elbow strike, you will spear forward was performed in the last exercise. See photo 3-3.
with the fingers in an upwardly spearing strike, 4) Immediately after executing the downward
then curl the fingers and pull back in towards your elbow strike, straighten the fingers and spear the
body. These last few moves are executed as if you hand strike forward at an upward angle of about
are spearing the opponent in the throat and then 45 degrees. The power here is similar to that of the
curling your fingers to hook under the opponent's lifting palm which was presented in the last
jaw bone and pull him towards you. The exercise chapter of this book. See photo 3-4.
is executed as follows: 5) Immediately after the spearing motion has
1) Begin in the horse stance with the hands beside occurred, curl the fingers as you pull the arm back
the ribs and the palms facing upwards as shown in down towards the body, ending with the elbow
photo 3-1. pointed downward and the arm bent at a 135
2) Turn the hips and shoulders around the body's degree angle. See photo 3-5.
centerline and bring the right elbow up and across 6) Repeat the sequence on the other side. See
the body in an arcing motion (as opposed to the photos 3‐6 through 3‐9.
161
In order to train your body to perform efficient elbow, a horizontal striking elbow, and a
and effective combinations, you should work to downward striking elbow. You have learned how
make the execution of either a spearing strike with to practice these elbows in combination with one
the fingers, an upward lifting palm strike, or a another and you have learned how to add a
uppercutting fist strike, a natural follow-up to the spearing strike and a backfist to these
downward striking elbow. The execution of a combinations. Learning the spearing strike, which
shaking palm would also work well in could have also been a lifting palm or uppercutting
combination with the downward striking elbow. fist, as a follow-up to the downward striking elbow,
and the backfist as a follow-up to the horizontal
Exercise 4: striking elbow, teaches you how to begin to build
efficient follow-up combinations to these common
Exercise number four begins with a vertical elbow applications. All of these combinations
elbow strike followed by a horizontal elbow strike, should now be practiced with footwork.
just as in exercises one and two. After the The next four elbow striking sets will start to
horizontal strike is thrown, you will immediately combine various elbow strikes with palm strikes.
throw a backfist. The exercise is performed as You will also learn how to use your elbows in four
follows: 1) Start from the horse stance. Throw the new ways. In exercise five you will learn how to
upward elbow and then follow that by the strike with the elbow towards the rear. This kind
horizontal striking elbow just as you did in of application is most commonly used as a
exercises one and two. See photos 4-1 through 4-3. blocking motion to protect your ribs when your
2) Immediately following the horizontal strike, opponent is attempting to strike or kick you there.
turn the hips and shoulders back towards the front However, at very close quarters, it can also be
and execute a forward striking backfist. When applied as a strike to the opponent's body. This
throwing the backfist, allow the whipping of the rearward striking elbow follows the horizontal
body to cause the forearm to whip around as if elbow which you learned in exercise number three.
your forearm is a rope and your fist is a rock on the This horizontal striking elbow tends to open up the
end of that rope. As your forearm whips forward, area of the ribs on the striking side and thus in
allow the wrist to be very loose and "snap" at the elbow number five, you will learn how to
very end of the forearm's arcing motion. Strike immediately protect that area after you have
with the first two knuckles of the hand. By striking opened it up in the execution of a horizontal
with the first two knuckles in a crisp snapping striking elbow.
motion (using the "wrist power" which was In exercise six, you will learn how to employ
discussed in the last chapter) you will be able to the elbow in striking downward at a diagonal and
strike very accurately to the opponent's vital you will learn how to follow this strike naturally
points. with a horizontal strike with the elbow to the
The horizontal elbow followed immediately outside of your body. The first horizontal strike
by a backfist is a common technique in Park's Pa you learned was across the body and the forearm
Kua. As we discussed in the "Distance and led the strike. The horizontal strike in exercise six
Degree" section of Chapter 2 of this book, the will be a horizontal strike to the outside with the
backfist will hit the opponent up the chain of his upper arm leading. The horizontal elbow strike in
joints. In other words, if the elbow hits the wrist or exercise six is followed by the "white clouds
ankle, the backfist will hit the knee or elbow, if the chasing the stars" palm.
elbow hits the elbow or knee, the backfist will hit In exercise number seven you will learn how
the shoulder or hip, if the elbow hits the shoulder, to employ the elbow to the upward moving
sternum, or hip, the backfist will hit the body or diagonal. This upward diagonal elbow is
head. Throwing the backfist after a horizontal or preceded by the shaking palm blocking
diagonal elbow strike should become a habit. combination which was presented in the first
During the execution of the first four elbow section of this chapter and it is followed by a
exercises, you have learned an upward striking chopping strike with the hand.
162
5-1 5- 2 5- 3 5-4
5-5 5- 6 5-7
Exercise 5:
The upward moving diagonal elbow is mostly used Exercise 5:
as a blocking motion against an opponent's axe
kick or downward chopping strike. It is also an Elbow exercise five combines the shaking palm
outstanding defense against a head-butt. Exercise strike with the horizontal striking elbow you
eight takes elements that have already been practiced in exercise three and a rearward striking
practiced and puts them together in a speed elbow. The exercise is executed as follows:
sequence to help the practitioner work on fast and
efficient motion. 1) Begin in the horse stance and then execute
As you can see, in executing the set of eight The horizontal striking elbow which you learned
elbow exercises, the student learns how to employ in exercise number three as shown in photos 5-1
the elbow in nine directions (up, down, left, right, and 5-2.
diagonally up to the left and right, diagonally down 2) As you can see in photo 5-2, the horizontal
to the left and right, and to the rear). He or she also elbow will open up your ribs on the side of the
learns how these elbows can be efficiently striking elbow and leave them susceptible to a
combined with each other and with various finger, strike there if your elbow strike does not hit its
palm, and fist strikes. We will now continue with mark. In order to cover yourself, this exercise
the exercises. teaches you to cover your ribs with a rearward
moving elbow. As the elbow is brought back, the
163
6-1 6- 2 6- 3 6-4
hips and shoulders are turned around the body's grabbed your wrist. It can also be used as an
center. See photo 5-3. elbow lock or break, as a strike to the opponent's
3) After the rearward moving elbow is thrown, foot or knee if he kicks you, as a strike to the
you will then execute a shaking palm strike to the opponent's hip joint, or as a strike to the
front. The shaking palm was presented in the opponent's shoulder joint. If striking to the back
previous volume of this book. See photo 5-4. of the opponent's shoulder joint on the downward
4) After you have thrown the shaking palm, you diagonal, the horizontal elbow strike which
will then execute the same sequence on the other follows in this exercise is a very good follow-up
side. See photos 5-5 through 5-7. when aimed at the opponent's head or spine. If the
diagonal strike is directed at the inside of the
Exercise 6: opponent's shoulder joint, the horizontal strike
can then be aimed at the opponent's head or
In exercise six you will learn how to throw an sternum. In this exercise the horizontal strike is
elbow strike in a downward diagonal direction. then followed by the "white clouds chasing the
This strike is then followed by a horizontally stars" palm which was presented in the last
moving elbow to the outside of the body. The chapter. The sixth exercise is executed as follows:
downward diagonal striking elbow is a very good 1) From the horse stance turn the hips and
strike to use on the opponent's hand if he has shoulders around the body's center and throw a
164
7-1 7- 2 7- 3 7-4
8-1 8- 2 8- 3 8-4
8-5 8- 6 8- 7 8-8
Exercise 7:
Exercise seven begins with the execution of the first elbow block with the
shaking palm which was presented in the first section of this book and then
employs an upwardly diagonal blocking elbow followed by a chopping
motion with the hand. This exercise
is executed as follows:
1) From the horse stance, execute
the shaking palm followed by the inward
elbow block which was described
in the first section of this chapter. See
photos 7-1 through 7-3.
2) From the inward blocking elbow, keep the elbow bent and bring it upward
at a 45 degree angle. Bring the
left hand up to the right fist for support. This
elbow is a blocking "wedge" which is used to block an axe kick, a downward
8.9 chopping strike, or a head-butt.
See photo 7-4.
3) Now follow the upward diagonal
elbow block with a side hand chop with
the right hand. See photo 7-5.
4) Continue by executing the exercise on the opposite side. See photos 7-6
through 7-9.
166
Conclusion
167
168
Chapter 7
Pa Kua Chang Ch’i Kung
169
Chapter 6
Pa Kua Chang
Elbow Training
In the last volume of this book we presented a few of to practice. Additionally, terms such as nei kung
Park Bok Nam's ideas about ch'i kung and described ( ) and nei tan ( ) are also used frequently to
some very basic breathing exercises, movement describe exercises and methods which some might
exercises, and meditations. In this volume we will also call ch'i kung and vice-versa. Thus ch'i kung
not discuss the breathing methods further because, as methods can really only be defined within the
we said in the last volume, Park likes to reserve the discipline they are to be practiced and in the context
teaching of breathing methods to individual students of each individual's personal practice.
because he believes that the breathing methods While most martial arts schools will have their
beyond those described in the first volume should be own definitions for terms such as ch'i kung and nei
given by "prescription" only. In this volume we will kung and will probably have separate training
work primarily with a ch'i kung exercise set which is methods which they place under these categories of
designed to strengthen the internal organs, loosen the practice, each school's definition tends to be slightly
joints and muscles, and harmonize the body, breathe, different. While some schools might call one thing
and mind. We will also talk a bit more about ch'i kung, another school might call that same thing
meditation. Before we begin to talk about the actual nei kung. Also, some schools will call all of their
exercises and techniques, we will have some internal practices ch'i kung while others will call all
discussion about ch'i kung in general. of their internal practices nei kung.
Some people will say that "traditionally" all
What is Ch'i Kung? internal practices were called nei kung and that ch'i
Because almost every traditional medical, kung is a fairly modern term. However, there are
martial, religious, physical, and, in many cases, others who will say the exact opposite. In this chapter
scholarly disciplines in China have a tradition of we will not argue semantics, nor will we provide our
ch'i kung ( ) practice, it is very difficult to own view about how the terms ch'i kung and nei
strictly define the "hows and whys" of ch'i kung kung are defined or how their methods might differ.
without putting it in the context of the discipline in For the purpose of this book, it will suffice to say that,
which it is practiced. Each discipline, and each of in most cases, the practices which are grouped under
the various schools within those disciplines, these terms are so similar that the terms can be used
practice ch'i kung with different goals in mind and synonymously. In this book, we will group all
thus each has a different criteria and method for "internal" practices involving the coordination of
practice. There are literally hundreds of ch'i breath, mind, and body under the "umbrella" of the
kung methods in China, each traditional method term ch'i kung.
having its own fairly unique systematic approach "Kung” literally means ʺeffortʺ or ʺwork,ʺ ʺmeritʺ
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171
more than help themselves. First, the bad habits and exact" before they try to add power to the
should be eliminated and then the body brought movement. The body must be internally
gently back to a healthy state through the practice connected and internally balanced before power
of simple methods under the guidance of an training can be initiated. Training for power
experienced teacher. Only then should the without slowly building up through a systematic
student go forward with the earnest study and series of exercises would be analogous to running
practice of ch'i kung. a marathon without ever having practiced any
type of jogging or running exercise prior to the
The Goals of Ch'i Kung Practice 26 mile run. The body can be severely damaged.
As stated previously, the specific goals of ch'i Unfortunately, the damage which is done by the
kung practice will vary from one discipline to the practice of inappropriate ch'i kung does not
next, however, in general, the martial arts usually manifest right away. Energetic changes
practitioner will first want to promote overall in the body are subtle and gradual. Unless the
health and well-being by seeking a balanced practitioner is under the guidance of an
distribution of energy in the body and improving experienced teacher or skilled Chinese medical
the body's efficiency in terms of energy movement doctor, the signs of dysfunction can go unnoticed
and usage. This will include methods aimed at
until they are blatant enough to be physiologically
integrating and harmonizing the mind, body, and
confirmed. At this point, the damage is done and
breath utilizing a safe, gentle, and well-balanced
will take a long time to correct.
approach. Balance, efficiency, and naturalness are
Park Bok Nam had a student in Korea who
the key elements to building a body which is
learned a number of ch'i kung exercises from Park
strong internally. If the body's internal systems
and then got a job working on a merchant ship.
are not balanced in terms of energy production,
The man practiced on his own while he was at
distribution, and consumption, then the body is
sea for a year or so and, not heeding the warnings
not working optimally and any attempt at
utilizing internal energy in a martial arts or and advice of his teacher, he over-trained. Too
healing practice will only cause further imbalance much of a good thing can cause problems because
and can eventually damage the internal systems. the body lacks balance. As a result of his over-
Only when the body is working in a balanced, training the exercises without having a teacher's
efficient, natural manner should the ch'i kung supervision, the man developed problems. He
practitioner worry about "energy cultivation," experienced dizziness, headaches, buzzing noises
"energy refinement," building a stronger energy in his ears, and loss of balance. When he returned
reserve, or using internal strength in martial arts. home, he came back to Park and described the
If a dam has a leak, you don't fill the reservoir problems. Park was able to help the man back to
with water until the dam is fixed. It seems like health, but it took a great deal of time and effort
common sense, however there are many to do so. Internal damage is not easy to fix.
practitioners who practice "power" ch'i kung While the practitioner is involved in ch'i kung
methods before their body is fully balanced and training, he or she should be closely monitored
operating efficiently. The power is transmitted by a knowledgeable instructor to insure that there
through a system which is not internally are no "hitches" in the process. If the student is
connected and internally balanced and thus this not participating in a complete method of ch'i
weak structure is shocked and damaged. It would kung under the guidance of a knowledgeable
be like overloading an electrical circuit - the body teacher and is not monitored through the process,
will eventually "blow a fuse." or does not know the next step in the training
Power ch'i kung methods should only be process which is supposed to occur after obtaining
practiced after the student has had a great deal of results from any given method of practice,
experience with much gentler, energy balancing, problems can also begin to arise. Because of the
ch'i kung methods. This is one reason that Park mutual influences any significant energetic
has all of his students practice every exercise "slow movement or opening in the body has on the
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rest of the physical body, mind, spirit, and begins training these methods, it is vital that he
emotions, there must be a systematic method in or she continue to practice ch'i kung methods
any ch'i kung training which takes results obtained which are designed to balance and rebuild the
at each stage of practice and either completes, body's energy.
balances, varies or continues the process when Many martial artists and Chinese medicine
each milestone is reached. If an energy gate, doctors "burn themselves out" because they do
point, or center is opened as a result of training not balance their practice between energy usage
and the practitioner does not know how or when and energy rebuilding and balancing. A good
the training needs to progress to the next stage, internal martial arts teacher with a complete
at best they will stagnate in their training, at worst method will know how to balance a student's
they will create a disharmonious condition in practice between energy usage and energy
their body. rebuilding (yin and yang training methods). In
When a significant energy event (energy Park's training program, all of the power training
movement, opening, or release) occurs in the methods are balanced by receptive, energy
body and the student is not taught how to building training methods.
advance from that experience, problems can arise. In ch'i kung practice, as it relates to the martial
Unfortunately, these types of energy events may arts, there should be a systematic process of
feel very nice to the practitioner because there training which begins with a program of
can be an associated "endorphin rush" when the balancing the body's energy, structure, and
energy is released. Students who cling to this movement, and then continues with exercises
experience and do not look past it to the next designed to build internal strength while
level of experience will stagnate in their training maintaining that balance. Once these two goals
and can sometimes create a shen disturbance are accomplished, the practitioner can then start
condition by fixating on trying to repeat that one to learn how to use that energy for martial
experience in every training session. purposes and power. However, once the student
begins this power training it is vital that he or
"Power" ch'i gong methods are definitely a she continue to balance the training with
part of the martial arts. If the practitioner wishes rebuilding and cultivation methods. The number
to use internal strength and energy to harm an one priority is to maintain a strong, healthy,
opponent in combat, the practice of methods balanced internal system, not to see how much
designed to teach the student how to use internal "power" one can obtain.
energy and internal strength in striking an
opponent are necessary. The forty-eight month The Ch'i Kung Training Process
palm exercises comprise part of the power training If we trace the lineage of most of the ch'i kung
methods utilized in Park's system to teach the methods which are practiced today, we will
student how to issue internal power in combat. probably find that they were initially practiced
Additionally, Park will also teach some of the and taught in the monastic environment of the
power methods, such as the shaking palm Buddhist and Taoist temples in China. In order
exercise, to those who are only interested in ch'i to better understand the optimum conditions and
kung for health purposes because these methods methods for ch'i kung practice it would behoove
aid in the opening up of the energy channels in us to look at how ch'i kung might have been
the body and help to develop the tan t'ien. But, practiced at its place of origin. We all know from
as stated above, the student should not jump right watching movies and reading books about
into practicing these methods. There should be monastic life that the first lesson any young monk
a gradual, systematic, developmental process is taught is patience. Patience in practice is
taught by an instructor who knows how to cater essential. Never be in too much of a hurry. High
to each student's individual needs. Power ch'i kung quality, long lasting results will not come
methods are not practiced until a strong overnight. If results are forced to occur before
foundation is built. Secondly, once the student their time, before the body is ready, there will
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inevitably be problems. Those that read about in the countryside would be the ideal, it is not a
Park's training with his teacher in the first volume practical option for most of us. However, the
of this book know that his teacher certainly tested lessons we can learn from those who have
his patience. preceded us in this practice are viable today. Find
We can imagine that the novice Buddhist or a skilled teacher with a complete method who
Taoist monk would be taught a very complete knows how to develop each student on an
system of ch'i kung training in a well designed individual basis, maintain a life-style and
program which systematically developed the environment conducive to internal training and
body, mind, and spirit of the individual and that development, and don't be in too great of a hurry
the external environment was one which to progress.
optimally facilitated this process. Ch'i Kung
practiced in the environment of a monastic life- We will now take a look at the most important
style, combined with the proper diet, meditation, components of internal martial arts ch'i kung
and herbal supplements, provided the individual practice and how they might be trained in Pa Kua.
with a complete and balanced development.
Once the student had practiced simple methods The Mind in Ch'i Kung Practice
which were aimed at developing mental and Attainment of consistent mind/body harmony is
physical relaxation, a clear mind, and proper one of the major goals of martial arts ch'i kung.
postural alignments, more advanced methods The internal martial arts classics say that "the
were taught. The more specific the ch'i kung mind ( - / or intention) leads the ch'i ( )
practice became, the more carefully guarded the and the ch'i leads the strength ( - //)•" This
life-style, diet, herbal supplements, etc. The principle tells us that without the correct mental
methods that were taught were prescribed intention, the ch'i and strength will not be fully
individually. Each student had a mentor who available. When discussing this principle with his
groomed and handled that student's development students, Park Bok Nam gives a few simple
according to that individual's particular needs. examples to illustrate this point. Park says that if
This is how solid, long lasting results are obtained. someone was engaged in an intense
It may seem a bit romantic, especially in the conversation with another person and
context of our focus on Pa Kua practice in the unbeknownst to him a third person came up and
modern world, to wonder about the training of put a five pound weight in his hand, he would
monks in temples in China since the only well probably drop the weight because his mind was
known Pa Kua practitioner who probably spent not sending energy to his hand. Because his
time learning in a temple was Tung Hai Ch'uan. mental focus was on the person he was engaging
The rest were primarily martial artists and most in conversation, there was no intention in his
did not mix martial arts with religion. However, hand, thus there was no ch'i and no strength.
as one can see if they examine the biographies of However, if that same person were to see
the first few generations of Pa Kua instructors, another person ready to place five pounds in his
most of them began their training of martial arts hand, that five pounds would be easy to hold up
with one teacher in a small village in the because the mind has sent energy to the hand.
countryside. Thus, while the environment was Another example that Park uses to illustrate the
not as sterile as the temple's, it was certainly importance of the mind/body connection is to
conducive to proper martial arts and ch'i kung say that if someone had a perfectly healthy arm
training, and the systems were taught and put that arm in a sling for two weeks, when
methodically and completely. Both Park Bok Nam he tried to use that arm again, it would be stiff
and his teacher Lu Shui-T'ien were taught in this and would not function well at first. This is
manner. because the arm was not being used and thus the
While the practice of ch'i kung and internal mind did not send much energy to the arm for
martial arts methods all day in a monastic that two week period. When a part of the body is
environment or in a remote village somewhere inactive, energy and blood do circulate to that
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area, however, because it is not being used, the Other systems have similar visualization exercises
mind only sends a minimal amount of blood and to promote the feeling of internal well-being at
energy. The point is that if the mental awareness the beginning of each ch'i kung session.
and intention do not reach all areas of the body, In Park Bok Nam's system, students practice
the energy movement throughout the body will one of several different variations of what Park
not be optimal. calls the "happiness" meditation prior to ch'i kung
In the practice of internal martial arts, we not exercise. This is the second set of meditations
only want an optimal flow of energy to all parts that the student will learn after having spent a
of the body for the purpose of maintaining our sufficient amount of time with the focusing
health, we also want to develop an ability to move (numbers) meditations which was outlined in the
energy out to our extremities instantaneously for last volume. Two versions of the "happiness"
use in fighting. This requires that the neurological meditation are explained on the next page.
and energetic connections be more highly Along with a sense of happiness, the mind
developed and refined than normal and thus the should be as still as possible during practice. The
mind/body connections which work in relation innate wisdom the body has in regards to its own
with these martial movements need to be health and well-being is its own best healer and
developed to an even greater degree. strength builder. A mind which is too active can
There are generally three areas of concern easily interfere with the natural healing process
when discussing the mind as it relates to ch'i kung in a number of different ways. General mental
or internal martial arts practice. These are: the chatter and noise can be an enormous energy
overall mental state, mental awareness, and drain on the body. Combine mental chatter with
mental intention. The mental state should be one worry, stress, or anxiety and the mental energy
of calmness and well-being. The mental drain becomes far worse. Of all the internal body
awareness should be one of keen observation and systems, the brain wastes the most energy. If the
sensitivity inside and around the body without mind is calm and quiet, energy conservation and
the mind becoming pensive. The mental rebuilding will reach its optimum.
intention should be focused, yet simple. During One need only stay awake all night to know
ch'i kung the mind should remain as calm and exactly how an active mind drains the body's
inactive as possible while remaining focused and energy. Even if you lay down in a bed and rest
aware. Next, we will discuss these three aspects the body, if you do not sleep (rest the mind), the
of mental involvement in ch'i kung in more detail. body's energy will feel drained the next day.
However, if the stories that are told about
Cultivating a Feeling of Well-Being meditation masters are true, deep meditation is
The overall mental state during ch'i kung even better at recharging the body's energy than
practice should be one of inner peacefulness, joy, a full night's sleep. Everyone has heard the stories
and happiness. A sense of ease and happiness about meditation masters who can meditate for a
will go a long way in helping to promote the short period of time and feel as though they have
balanced flow of energy in the body. A general had a full night's sleep. In Park Bok Nam's system
feeling of happiness and well-being also helps the of Pa Kua, students are taught a graduated method
body conserve energy. Feelings of sadness, grief, of meditation which leads to what Park refers to
worry, stress, anxiety, and anger consume energy. as "empty mind" meditation.
Of course, in internal arts practice, everything Park himself first experienced the "empty
needs to be in a balanced state and thus even mind" state after a one year long training retreat
overjoy and over-happiness can consume too in the mountains of Korea. Upon reaching this
much energy. So the feeling of happiness one state Park said that he felt as if he had only been
cultivates during practice is a gentle, steady feeling meditating a few minutes, however, it had
of joy and calmness. This is why many systems actually been several hours. He says that the
of ch'i kung start practice with what has become feeling one has after this kind of meditation is
popularly known as the "inner smile" exercise. one of lightness and the body feels as if it has had
175
The ʺHappinessʺMeditation
There are two versions of the "happiness"
meditation that Park will usually teach to growing upward, the leaves slowly growing, the
beginning students. This meditation is taught flower bud forming, and then the flower slowly
after the student has gained some experience blooming. The student should allow this
with the "numbers" meditation that was sequence to occur very slowly. Do not rush
offered in the first volume of this book. The through this visualization. The meditation ends
reason for this is that it is imperative that the just as the flower reaches full bloom. The student
student gain experience with concentration will not continue meditating past this point.
before trying any other kind of meditation. If the The purpose of this mediation is to allow the
student's concentration is not good, his or her mind to focus on one simple thing that is
mind will easily wander when performing any progressively growing and makes the practitioner
other type of meditation. feel happy seeing it come to fruition. However,
After the student has learned to focus his or her because some individuals do not get too excited
concentration by gaining experience with the about flowers, Park provides a "happiness"
"numbers" meditation, Park will then teach the meditation alternative.
"happiness" meditation. Below we describe
two different versions of this meditation. "Happiness" Meditation #2
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a full night's rest. If the mind can be trained to taught in the first volume of the book.
become totally quiet, the natural energy The mental focus, or intention, during ch'i
rebuilding and healing process will be optimum. kung practice should be as simple as possible. If
If the mind is calm and quiet, the body will the mental focus is not simple, the mind is too
rebuild and heal itself in the most efficient and active and thus it is using too much energy. The
effective way possible. This occurs not only best kind of mental visualization to use in the
because the mind's interference in the body's beginning levels of ch'i kung practice which
natural healing process is minimized, but also involves physical motion is a simple image which
because the body is conserving a great deal of brings the mind to the hands. The practitioner
energy when the mind is calm. However, can imagine the hands are moving through water,
obtaining a quiet mind and internally calm body lifting something heavy, pushing something,
is not easy. It takes more patience and pulling something, holding something, etc.,
perseverance than most practitioners are willing anything which brings a sensation of the hands
to commit. moving against some sort of slight resistance.
In our modern society, where the majority of These images are good to use during an exercise
educated people work on computers and talk on set such as the "basic ch'i circulation exercise"
phones all day, the greatest source of energy usage which was described in the first volume.
is the brain. At the end of the day an office worker If the mind feels as though the hands are
will feel just as physically drained of energy as a meeting some resistance, the mind will send
construction worker because of the amount of energy to the hands. If energy is sent from the
energy the mind can consume. Although the torso to the hands, without the mind interfering
muscles of the office worker will not be sore, the with the movement of energy between the torso
body will feel just as tired. In order to rebuild the and the hands, it is circulating naturally and
spent energy and maintain a healthy body the efficiently through the body. Park says that during
office worker needs to move the body and relax ch'i kung exercise the student should use 10%
the mind. This is why ch'i kung, or internal martial physical strength and 90% internal strength
arts practice, is ideal for our modern day world. (intention/ch'i). He contrasts this with exercises
Unfortunately, many who turn to these disciplines that are found in Shaolin ch'i kung where the
for help never learn how to fully relax the mind. practitioner will create tension in the body and
Relaxing the mind and learning how to create an use quite a bit more physical strength. The 10%
internal feeling of well-being and happiness physical strength helps put the mind in the
should be the first priority in ch'i kung practice. motion. If the hands and arms are completely
Without the ability to cultivate an internally calm limp with no (0%) physical strength, then the
and peaceful environment, the practitioner will intention will not be correct. The posturing and
have difficulty reaching deeper levels of intention of the body is similar to that of a cat
attainment in practice. getting ready to pounce. It is relaxed, but there is
It is always helpful to precede any ch'i kung still mind and energy in the posture and motion.
practice, circle walking or otherwise, with a simple At the beginning levels of practice the hands
"happiness" meditation of some kind. Cultivating and body should be engaged in simple
a feeling of well-being, calming the mind, and movements so that it will be easier for the mind
forgetting about the outside world will aid in and body to connect. If the movements are too
conserving energy, rebuilding health, increasing complex in the beginning, the mind will be
mental focus, and uniting the mind and body. unable to maintain complete intention and
awareness. This is why Park starts all beginning
Mental Intention students with the "basic ch'i circulation exercise"
After the practitioner can obtain a feeling of which was shown in the first volume.
internal well-being and calm the mind, he or she Usually, beginning level ch'i kung movements
learns to focus the mind. This was the main involve simple motions which help facilitate a
purpose of the "numbers meditation" which was full and balanced energy flow in the whole body,
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starting with the conception (jen mai - ) There are a number of problems which can
and governing (tu mai - ) meridians. If arise from ch 'i kung exercises which rely too much
the motion of the body is simple and the on mental visualization. Aside from the problems
alignments are correct, the practitioner can of forcing ch'i where it is not ready to go and
easily and naturally encourage a strong, overuse of the brain's energy as discussed above,
balanced, connected flow of energy in the jen specific visualizations can also lead to problems.
and tu meridians without the use of strong Visualizations which run energy along certain
intention. The mind need only be focused on energy meridians can easily lead to energy getting
the hands. "stuck" in the body if the mind cannot maintain
If the mind is trying to guide the energy
full concentration while it is leading the energy.
through the jen and tu meridians, or any other
Once a sufficient amount of ch'i is flowing in body
meridians for that matter, from the torso to the
due to the guidance of a specific mental
hands along some special path or energy route,
visualization, if the mind becomes distracted, the
two problems can occur. Number one is that the
ch'i will rise to the head. This condition is known
mind is too active. In ch'i kung practice simplicity
as "rising ch'i" and can be quite uncomfortable
is the key element. You want to minimize mental
and may lead to migraine headaches, dizziness,
activity. If the mind is trying to guide the ch'i all
and loss of balance.
over the body, it is too active and thus it is wasting
too much energy and full body awareness cannot Other visualizations which call for focusing on
be maintained. The second problem is in trying any particular internal organ or energy center can
to force the ch'i though pathways it may not be cause problems if sending energy to those areas
ready to go through. is not appropriate for the individual's physical
A ch'i kung or internal martial arts practitioner condition. These type of exercises should be
should never try to force energy to move in the prescribed like drugs. The same is true of color
body by utilizing strong mental intention. visualizations and sound meditations. For
Progress in ch'i kung practice should be gentle and example, if a particular individual has liver trouble
gradual. If you think about your hands, the ch'i or his character is such that he easily loses his
will move to your hands. If it is moving to your temper, that person should not meditate on the
hands, it is moving from the torso, where it is color red at all. He will only make matters worse.
cultivated and stored, to your hands in the The use of imagery, visualization, and strong
manner which is most appropriate for your intention in the practice of ch'i kung or internal
individual body at that given time. Do not martial arts practice is useful, valid, and
interfere with the natural process by trying to appropriate when practiced correctly. Like
guide the ch'i where it does not want to go. anything else, when needed, this practice should
In the practice of ch'i kung, if the physical proceed gradually from very simple to more
movements and body posturing are correctly complex. The more complex should only be
designed to gently coax the energy to move in a practiced when the body and mind are ready and
balanced manner through all of the body's energy are usually practiced only for specific results
meridians and collaterals, then one need only unique to an individual's progress. For instance,
think about the hands and feet during practice in a visualization technique may be practiced to help
order to have the proper mental intention. While correct a specific physical problem, energy
sitting or standing still and trying to guide energy blockage, or energetic imbalance. However, once
all around your body with your mind can be those specific results are obtained, the practitioner
somewhat effective, it is inefficient and can lead always returns to the simple. The rule of thumb
to problems. As we will discuss later in the "body regarding the mind's involvement in ch'i kung is:
motion in ch'i kung practice" section of this simplicity is best.
chapter, if the body is not involved in ch'i kung
practice, the practice is not complete. If the mind Mental Awareness
is overinvolved in the practice, the results will not Internal and external awareness are key
be as deep and complications can easily arise. elements in martial arts training. In order to
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expertly execute the subtle techniques of the aware of new feelings and new sensations. The
internal martial arts in a combat situation the more often a feeling is cultivated, the easier it will
practitioner needs to have cultivated a keen manifest and the stronger it will become.
awareness of his own body, its movement, its After students in Park's school finish ch'i kung
energy, and its relationship to the body, practice, he will typically ask them what kind of
movement, and energy of an opponent. feelings they encountered during that session. He
Sensitivity, awareness, and "listening" energy wants to know what the student is feeling in order
( - t'ing ching) are cultivated by forging to monitor the students progress and he wants
a strong mind/body connection during the student to be able to think about what they
martial exercise, forms training, and ch'i kung are feeling. He explains that students should not
practice. always get the exact same feeling each time. If
Mental intention and mental awareness work they do, they need to make adjustments.
together to provide a full mind/body integration. Sometimes Park will tell the student to make small
The use of intention can be compared to an adjustments in the exercise, such as minor
outgoing radar signal and awareness can be changes in the articulation of the joints. Other
compared to processing the return signal. The times Park will modify the exercise to a greater
mental energy is sent out to all parts of the body, degree or change the student's exercise set all
and then the mind "listens" to what "signals" are together if he feels the student is ready for
sent back. The eventual goal of practice is to have something new.
intention and awareness in all parts of the body
As we explained in the last volume, typical
at all times.
sensations students will feel are numbing,
When a new student first learns any martial
buzzing, tingling, heaviness, fullness, and/or
arts exercise or form, the mental awareness will
warmth. In the last book we also described the
be focused on the gross physical motions of the
three ch'i circulation types which Park uses to
exercise or form. The mind and body are busy
define ch'i movement in the body. These are: skin
working out the physical alignments,
coordination, timing, and balance necessary to ch'i, nerve ch'i, and bone ch'i. In relating these
execute the motions correctly. Once the student types of ch'i circulation with the ch'i feeling that
has a basic physical understanding of the motions, individuals typically encounter during practice,
the awareness should turn to the physical Park explains that the tingling sensations usually
subtleties of the movement. The internal indicate that the skin ch'i is the strongest, the
connections, alignments, and mechanics are numbing or ticking feeling indicate that the
cultivated until these components become natural student is aware of the nerve ch'i. The warm or
and efficient. heavy feeling indicate an awareness of the bone
Once the physical motions, proper alignments, ch'i. During practice it is not uncommon that a
internal connections and efficient, natural body student experience a combination of these
mechanics are in place, the student's awareness feelings.
can then turn towards the energetic movement Once certain feelings and sensations are
inside and around the body. A simple cultivated, Park will change the training so that
visualization, which is designed to move energy the student will experience new feelings. For
to distal points, can be added to the exercise and example, when a student has worked with a
the mind can become aware of how the energy is beginning level exercise which is designed to bring
moving. Is there a feeling of warmth, buzzing, a full feeling of ch'i to the hands, the exercise can
tingling, heaviness, pulsing, ticking, etc.? Does then be changed or modified such that the
the energy feel as if it is collecting, dispersing, intention and movement involves the hands and
moving upward, moving downward, moving forearms simultaneously so that a full ch'i feeling
right to left, inside to out, etc.? Once the the entire length of the arms can be obtained.
practitioner becomes conscious of the "ch'i Once the student has experienced various
feeling" and ch'i movement in the body, he or sensations of ch'i flowing and moving throughout
she tries to cultivate that feeling and then become the body, he or she will then be led to cultivate
179
an experiential understanding of the ch'i outside become pensive. As mentioned previously, the
and around their body, then subsequently they mind should be as still and quiet as possible. The
will work to understand the relationship of their practitioner should always maintain the status of a
ch'i to that of other individuals around them. quiet observer. If something happens,
After the student experiences the movements and acknowledge it and then let it pass. Using mental
exercises on all of the various levels mentioned intention and keen awareness one can work to
above, he or she can then begin to expand the deepen an experience or strengthen a sensation,
awareness in partner drills. The student gains an however, it is important that the feeling or
awareness of the spacial relationships, timing, experience be "watched" and nurtured, not
rhythms, and movements of his or her body in pondered. The mind needs to be thinking in "real
relation to someone else. The body and mind time," which means it is always in the present. If
become sensitive to a partner's movements and it is reflecting on the past instant, it is not focused
the student learns how to move efficiently and on what is happening now and that "air bubble"
effectively in relation to the opponent while will occur. Be aware of what is happening in and
moving in accordance with all of the principles of around the body in the present instant. Do not
the internal martial arts. dwell on any particular experience. Each
In order to bring any movement through the experience is simply a stepping stone to the next
levels of awareness as described above, the experience. Each instant leads to the next.
student must have enough patience to repeat each Whenever the student practices there should be
movement, or sequence of movements, hundreds sense of wonder and an open mind, but with a
of times. Each repetition should be performed dose of reality and practicality as applies to
with full mental intention and awareness. If the martial arts. What ever feelings and sensations the
repetitions are performed robotically, with no student might obtain in practice, he or she should
mind/body interaction, the movements will be realize that there is always something more.
"empty." Unfortunately many students do not Always use common sense in practice. If you feel
take an exercise or sequence of movements past a new sensation, do not get too excited about it.
the first stage. Once they "learn" the moves Acknowledge it and then continue "listening" for
physically, they become bored and want to learn new, or deeper, sensations.
something new. In ch'i kung practice, the same When students relate new experiences with ch'i
exercise or movement sequences need to be kung practice to Park, he will always
practiced hundreds of times before the student acknowledge the experience and then point out to
can gain full awareness and understanding of the the student that there is something beyond that
movements. experience. He never wants students to overvalue
What the practitioner is seeking in the repetitive any given experience. He says in the thirty-five
practice of ch'i kung movements is a continuous, years he has been practicing he has continually
smooth, and fluid flow of energy in the body. If discovered new things. He says that each time he
the intention (mind) is not focused on the thought he was at a "high level," more practice
movement, the energy will not be smooth. Park and experience made him realize later that there is
Bok Nam likens the wandering or distraction of always more to learn and discover no matter what
the mind during practice to a air bubble in a water "level" you are at. This is the beauty of the
hose. When the mind is focused, the body internal arts. The practitioner never stops learning
alignments correct, and the movements fluid, the and discovering.
energy will flow smoothly and continuously. If The message we are trying to relate is that when
the mind wanders for an instant or is distracted, practicing ch'i kung, do not limit yourself to
the flow of energy will have a slight sputter like knowledge gained from one or two profound
an air bubble getting into a water hose and experiences. Today the internal martial arts are
disrupting the flow. being saturated with "new age" metaphysics and
While the mind needs to be active and involved "healing" techniques which are being built on
in every body motion, the mind should never the limited experiences of individuals who have
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touched upon some self-proclaimed "cosmic" overcomplicate the process. If the movements of
experience. Don't base your reality on a few limited an exercise set are designed to gently coax the
experiences or overvalue a single experience. There balanced distribution of energy in the body with
is always something more. It is best to view all the help of simple mental visualization, the body
experiences as rungs on a ladder. Unfortunately, will seek a naturally balanced, strong internal state.
many times when speaking of mind/body awareness, The Yellow Emperor's Classic on Internal
some instructors and students like to leave the real, Medicine (Huang Ti Nei Ching), one of the oldest
practical world of the martial and healing arts and Chinese medical texts, embraces the principle, "life
begin to fantasize about phenomenal ch'i powers and is movement." While it is certainly possible to
abilities and the attainment of "spiritual move energy in the body by using the mind alone,
enlightenment" through martial arts practice. While gentle mental intention combined with physical
it is certainly possible to cultivate intuitive movement is much more efficient and is better for
understanding and open up higher levels of the body as a whole. If the movements are
awareness and consciousness through the practice of accomplished through a balanced, systematic
internal martial arts and ch'i kung, the nature of the process, starting with simple movements and
martial arts vehicle is such that the body /mind gradually increasing the complexity of the
awareness should be integrated fully before the movements, the process will be safe and the results
body/mind/ spirit connection can be cultivated. long lasting. In order to reach optimum health,
Students who expect profound spiritual experiences muscles, tendons, ligaments, joints, internal organs,
to occur before the body is coordinated, connected and energy meridians all need to move through
and harmonized with the mind are jumping way their full range of natural motion everyday. If the
ahead of themselves. Whenever asked about spiritual body does not move, things will stagnate, tighten,
experiences in the martial arts, Park's response is, "I and bind up, and eventually problems will arise.
do not mix martial arts and religion." The art of Pa Kua Chang is based on the theory
of change. Nothing stands still. Therefore, the
Body Motion in Ch'i Kung Practice majority of all ch'i kung performed in Pa Kua
Although there are many ch'i kung exercises Chang involves moving the body, not standing or
which are practiced while the practitioner is sitting or sitting statically. Park Bok Nam says that in order
standing, the distribution of ch'i throughout the body to have a balanced practice, the practice must
is achieved in the most efficient, most effective, and adhere to natural principles. He states that
most complete manner when the body is in motion. everything in nature adheres to the trinity of
Relaxed, natural, efficient motion of the physical Chinese philosophy, namely yin/yang theory, five
body inherently promotes the movement of energy element theory, and the Yi Jing theory (theory of
in the body. This is a natural principle of all life -"life change). In nature, yin and yang are represented by
is movement." the sun and moon, the earth contains the five
If the movements, or series of movements, in an elements, and the theory of change is demonstrated
exercise set are performed such that there is a in the continuous rotation of the sun and moon
relative central equilibrium, the body is aligned around the earth. If there was no sun and moon (yin
efficiently, and the motions move left, right, up, and yang), there would be no earth and thus there
down, forward and backward in a balanced would be no five element cycles. If the sun and
fashion, then the movement of energy in the body moon did not rotate around the earth, life could not
will move towards a balanced state if the mind be supported on the earth and thus there would be
does not interfere with that natural balance. As no five elements. In order for there to be a balance in
mentioned in the previous section of this chapter, nature, all three principles must be represented. Since
the body has an innate knowledge of how to Pa Kua adheres to natural principles, these
heal and balance itself if the mind does not try to components must be present in all aspects of training.
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Therefore, in order for the practice to be complete, aid development to a certain point. In order to
the practice should include the idea of continuous balance the practice the body must move so that
change through body movement. the ligaments and tendons around the organs and
As we discussed in the last volume, Park Bok joints will remain loose and supple.
Nam's theory of energy development and Some schools of Pa Kua will start beginning
cultivation includes three different "types" of ch'i students practicing various components of ch'i
in the body. The first is what Park calls "skin kung separately and thus static posture holding,
ch'i." This is the ch'i that moves through the sitting or standing meditation, and sitting or
body's energy meridians, channels, and associated standing breathing exercise may be included in the
collaterals. When the practitioner practices ch'i curriculum. However, later in the development
kung and feels a tingling sensation they are process, all of these components are brought
experiencing awareness of the "skin ch'i." This together and practiced in conjunction with
kind of ch'i can be cultivated through both static progressively more difficult physical body
and moving exercise. movements and circle walking footwork.
The second kind of ch'i Park calls "nerve ch'i."
This is the energy associated with the nervous Body Alignments and Efficient Motion
system and is experienced when the student feels When learning a set of physical movements, the
a numbing, ticking, or electric shocking. This first two points of focus are the correct, natural
energy is best trained through articulation of the body alignments and the use of naturally efficient
joints through their full range of motion while motion. In terms of energy conservation and
maintaining proper body alignments and mental movement, the body works best when all motion is
intention. Without body movement, this kind of natural and efficient, the body is relaxed, and the
ch'i will not be developed fully. This ch'i is mind is connected with the motion. Body
usually experienced at first as a shock in the area alignments which take advantage of the body's
of the joints or a slight numbing sensation in the natural strengths will help to conserve energy and
extremities. Slightly adjusting the articulation of also serve to distribute energy throughout the body
the joints during practice will help the practitioner in the most efficient, balanced, and wholistic
experience this kind of energy. manner.
The third type of ch'i in Park's model is "bone Whenever any student asks Park details about
ch'i." This is the energy which courses through alignment and posture, his first statement is,
the bones. This type of energy is usually the most "Whatever feels natural and comfortable." He goes
difficult to cultivate because in order for it to on to explain that every student has a different
develop their needs to be a good balance and body and so you cannot be too detailed about the
cultivation of the other two types of ch'i (skin and angle and degree of every body motion because
nerve). Again, for the fullest development of this what works for one person will not necessarily
energy, movement is necessary, especially work for another. Park's method is to work with
rotational movement and articulations of the each student so that they find what is right for them.
joints. The practitioner will usually first But always, the number one rule of thumb is
experience awareness of this energy as a dull "natural and comfortable."
ache inside the bones as if something inside the When learning proper body alignments, the
center of the bones is trying to expand outward. student should first be taught how to align his or
Heaviness of the limbs and hot sensations are also her body with the force of gravity and then be
related to this kind of energy. taught how to take advantage of "ground
The point here in referring to these three strength" and naturally strong body positioning.
"types" of ch'i in the body is that in order to By "naturally strong" we are referring to
progress beyond the awareness and cultivation of alignments which take advantage of the body's
"skin ch'i," the practitioner needs to move the natural positions of power (those that don't rely
body. Static sitting or standing ch'i kung will only on the use of muscle strength), such as the peng
(ward-off) strength which is emphasized in T'ai
Chi
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Smooth and Continuous Movement practitioner how to move energy in the body
In the majority of ch'i kung exercise, where the rapidly and project that energy outside of the
goal of the practice is to rebuild or cultivate energy body for use in martial application. As Park Bok
in the body, the practitioner will want to make Nam states, "sometimes you need to keep the ch'i,
all movements slow, smooth, fluid, connected, other times you need to throw the ch'i." However,
balanced, and continuous. Ideally this will be as we stated in the first segment of this chapter,
accomplished both physically and mentally. In learning how to build and cultivate ch'i is a
Chinese they refer to this idea as "silk pulling necessary prelude to learning how to project the
energy." The image here is one of pulling silk out ch'i out of the body. If it is not cultivated first,
of a cocoon. If the pulling motion is not smooth there is nothing to project. If it is projected
and continuous, the silk strand will break. If the outside of the body too much, then the reserve
pulling motion is stopped or there is hesitation will be depleted. So there always needs to be a
once the movement begins, restarting the motion balance in practice between energy usage and
will also break the silk thread. Therefore, once energy rebuilding.
the motion starts, it needs to be smooth and
continuous. Breathing in Ch'i Kung Practice
The silk pulling image can be easily related to
the idea of energy flow in the body. Once energy The body processes several raw materials in the
starts moving in the body, smooth, continuous, production of energy. One of those raw materials
connected motion will facilitate a continuous is air (life force energy). Air is probably the most
movement of the energy throughout the body. important energy source the human body has at
If there is a pause, an awkwardness, or a hesitation its disposal, but because the breathing process is
in the movement, the smooth energy flow will "automatic," most people don't pay much
be disturbed. If we compared energy flow in the attention to it. From the Chinese perspective,
body to water running through a hose, such a food and drink are the "energy of the Earth" and
disturbance could be seen as an air bubble getting air is the "energy of Heaven." While it is important
into the line. As discussed previously, lack of to balance the energy intake between that of
proper mental focus also produces this "air Heaven and Earth, we also know that a body can
bubble." live for weeks without food and days without
While it is true that the correct movement of water. However, the body can only go a few
the body facilitates a smooth, continuous, minutes without air. Thus the energy gathered
connected, and balanced flow of energy in the into the lungs from the air is extremely important.
body, the mind also has an important role to play The more efficient and effective that process is,
in maintaining optimal energy movement. As the more energy the body will have.
we discussed previously in this chapter, the In regards to breathing, there are two main
intention must be focused and in harmony with goals in ch'i kung practice. The first is to gradually
all movement for the movement to be complete. and gently increase the lung capacity and the
If the mind does not lead the motion, the energy efficiency of the lung's operation. The second is
will not follow the motion. If the mind is to retrain the body to harmonize the breath with
distracted during practice, that "air bubble" in the the body's physical motion. In the first volume
hose will appear. Mind and body need to be of this book we presented a few breathing exercises
integrated in all ch'i kung practice. which help the practitioner learn to increase the
The slow, deliberate motions as described above body's breathing efficiency and capacity. In this
are mainly used to cultivate and balance energy in the volume we will focus more on the principle of
body. This practice is needed no matter how advanced coordinating the breath with movement.
the practitioner becomes. However, there are many Breathing naturally and efficiently with the
"power" ch'i kung methods, such as the power palm breath working in complete coordination with the
exercises of Park's system, which serve to teach the body motion will greatly increase the body's
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endurance, strength, and vitality. If the breath is However, the inhale should not be strained or forced.
held, or the physical body motions are working If the practitioner begins to run out of breath, feel
against the natural expansion and contraction of the dizzy, turn red, feel strained, or feel pains in the chest,
chest cavity, then the breathing will not be optimal. the inhale was too big. The stretching of the lungs
Also, if the practitioner does not execute daily should be very gentle, not forced. The increase of
exercises which are designed to gently stretch the lung capacity should be gradually improved over a
lungs, the lung tissue and the intercostal muscles period of time. Unfortunately, many practitioners,
between the ribs can become tight and thus normal especially those engaged in potentially dangerous
breathing will become restricted. exercises such as "iron shirt" training, overdue this
Considering the above mentioned goals, there are aspect of ch'i kung breathing and cause themselves
two rules of thumb. The first is that during practice problems. Dizziness, headaches, and high blood
the inhale should be executed in coordination with pressure are minimal side effects from forceful
physical body motions which naturally facilitate an breathing practice. In extreme cases practitioners
expansion in the chest cavity. For example, if the have been known to severely damage the lungs, heart,
arms are moving up over the head, or are extended and diaphragm by being too forceful in executing
out to the sides of the body, the physical movement their inhale. In ch'i kung, all results are obtained
is encouraging an expansion in the chest and thus gently and gradually.
this is when the inhale should be executed. If the Another breathing related problem arises in
arms are moving in towards the center of the body individuals who focus too much on tan t'ien breathing
or down by the sides, this is encouraging a without learning how to also properly exercise the
compression of the chest cavity and thus the exhale upper torso during the inhale and exhale. Those
should be executed. practitioners who only focus on breathing into the
If the practitioner learns how to completely lower abdomen typically have restricted movement
coordinate the breath with the movements of the in their lungs and rib cage due to not sufficiently
body, the breathing will naturally become more exercising this area. While learning abdominal
efficient. With a focus on this principle during the breathing is definitely a part of ch'i kung practice, the
execution slow movements in ch'i kung practice, student should not focus solely on that aspect of
the practitioner will be able to train the body to breathing. All energy which comes into the body
breathe properly at all times. If the practitioner can from the air must first pass through the lungs. If the
learn how to breathe naturally in this manner in lungs and upper chest are restricted in motion, the
everyday life, he or she will notice that they have energy that reaches the lower abdomen and tan t'ien
more endurance and energy. If the training is will not be optimal. One need only watch a baby
correct, this extra endurance and energy will breathe to see how to breathe most efficiently. A
naturally carry over in to the combat environment. baby's entire torso will expand during the inhale, not
However, this principle must first be trained during the chest alone, nor the abdomen alone. In Park's
ch'i kung exercise. If the practitioner cannot system, the "filling breath" exercise presented in the
properly coordinate the mind, body movement, first volume is practiced by students of all levels in
and breath during the calm and quiet atmosphere order to keep the chest loose and lungs working to
of ch'i kung exercise, they can not hope to have it full capacity.
happen during the stress of a fight. While it is important to train the lungs to gradually learn
The second rule of thumb in regards to breathing how to accept more air during the execution of the natural
and ch'i kung exercise is the execution of a full inhale, a fully executed exhalation is equally as important.
inhale and complete exhale. The inhale should be The inhale can be seen as the vehicle for gathering the
full enough to challenge the breathing capacity of energy of Heaven into the body and the exhale as serving
the lungs and stretch the lung tissues and to rid the body of toxins. If the exhale is not complete,
supporting muscles in the area of the rib cage. this process will not be efficient and
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these toxins can collect in the lungs and be stored can take in with any natural breath, it is important
in the body. If the exhalation is shallow, then that the practitioner of ch'i kung execute daily
some of the toxins which the body needed to rid exercises which serve to stretch the lungs and
itself of will stay in the body. As with the inhale, diaphragm, and open up the rib cage. Not all
the exhale should be full, but not forced. The exercises need to be focused on this, however,
body should always remain natural and while executing a set of ch'i kung exercises, there
comfortable during both inhalation and should be some exercises in the set which serve
exhalation. this purpose. The practitioner is teaching the
In order to increase the amount of air the lungs body how to use the lungs to their full capacity
and thus breathing becomes more efficient.
The Supplemental Palms
The Pa Kua ch'i kung exercises we will show in worked with more rudimentary exercises may find
this volume form a set of eight exercises which it difficult to develop the ch'i feeling.
Park refers to as the "standard eight ch'i kung" set. The exercises shown here will not be practiced
These exercises are very typical of Pa Kua style ch'i by beginners simply because it is difficult to obtain
kung in that they utilize the characteristic twisting a feeling for the movement of energy while
and turning body motions for which Pa Kua has executing these complex turning and twisting
become known. In addition to loosening up all motions of the body if the student has no
areas of the body through an opening up of all the experience with feeling ch'i or if the body is tight.
joints, this exercise set also aids the function of We show these exercises here so that the reader
the internal organs by allowing them to move can get a feel for the characteristic Pa Kua flavor
within their sphere of motion inside the body. in ch'i kung exercise.
Each exercise stretches or massages the organs This particular set of exercises is also designed
and their associated ligamental attachments in as a primer for the 48 month palm practice. If
different ways. Park says that as the body moves you have read the chapter on palm training in
and the organs are massaged and manipulated,
this book, you will notice that many of the
the organ ch'i is strengthened.
movements in this ch'i kung set resemble the
Typically, Pa Kua ch'i kung exercises which are
movements of the 48 month palms. By first
separate from the circle walking forms are going
gaining experience in the execution of this ch'i
to involved motions which enable the entire body
kung set before practicing the 48 month palms,
to twist and turn through a full range of motion.
This twisting and turning motion is characteristic the student is able to develop structural
of both the health and martial arts movements alignments and connections, ch'i awareness, and
of Pa Kua Chang. However, the beginning student increased flexibility before trying to put power
will not start out his or her ch'i kung practice by into these motions in the 48 month palm practice.
learning the difficult twisting motions of Pa Kua. It is a good idea to practice this set for six to eight
The beginner needs to obtain experience with ch'i months before attempting to practice the 48
kung exercise and awareness of the movement of month palm set.
energy in the body by beginning their practice The "standard eight ch'i kung" exercise set
with much simpler movements and exercises. actually consists of ten exercises, however, the
This is why we only presented the "basic ch'i first two are considered "warm-ups." The only
circulation" exercise in the first volume of this reason these exercises are considered warm-ups is
book. The student trying to execute the exercises probably for the simple reason that whoever
in the "standard eight" set without having first invented this exercise set felt that all Pa Kua sets
187
should have eight exercise, not seven, nine, or From the last movement of the T'ien Fan Chang
ten. So instead of calling it the "standard ten" ch 'i exercise (see photo 2-1), execute a fan chang
kung set, we call it the "standard eight" with two maneuver with the left palm coming underneath
warm-ups. Pa Kua practitioners are picky that way the right palm. As the body comes around to the
when it comes to the number "eight." front, step out into a "horse riding" stance. See
The ten exercises are practiced in a continuous photo 2-2.
sequence with no stopping in-between the 1) Now execute a slow shaking palm maneuver as
exercises. The two warm-up exercises and the first presented in the last volume of this book. The left
of the eight exercises in this set were presented in hip and shoulder come back and then they are
the last volume. The straight fan chang and circle both extended forward with the strike. Keep in
fan chang exercises are the two warm-ups and the mind that all movements in this sequence are
t'ien fan chang exercise is the first of this set. The performed slowly with the intention focused on
two warm-ups are practiced in order to help the leading palm. As the palm is extended and turns
"wake-up" the body and loosen up the spine. over, imagine the ch'i moving out to the palm, but do
The t'ien fan chang exercise works specifically to not extend your imagination beyond the center of the
increase the flexibility of the spine and neck, and palm. In this exercise you want
aids the function of the lungs because the rib to "keep the ch'i," not extend it away from your
cage and chest are allowed to expand during the body. Just as in the shaking palm exercise, the
execution of the movement. inhale is performed as the arm is drawn back and
Because the three fan chang exercises were the exhale is performed as the arm moves forward
presented in the first volume, we will not show to strike. Throughout this exercise the breathing
them again here, we will go right in to the second should remain smooth, fluid, and full. See photos
exercise of the set which is called "sliding the 2-3 and 2-4.
window shutter to look at the moon." Because 3) Execute another straight fan chang maneuver
this is the second exercise of the set, we will begin in order to perform a shaking palm movement on
numbering the photos with the preface of "2" the right side. See photos 2-5 through 2-7. This
instead of "1." completes the first half of this exercise. You have
now executed a slow, fluid, smooth shaking palm
on both the left and right sides. Now you will
Sliding the Window Shutter to transition into the other half of this exercise.
Look at the Moon 4) You will now begin the "sliding shutter" part
of the exercise. Execute a fan chang and turn the
This exercise is almost identical to the 48 body to the left. The lead hand stays up at about
month palm exercise of the same name which eye height. With this move, begin to inhale. See
was presented in the palm training chapter of this photos 2-8 and 2-9.
volume, however, here it is combined with the 5) Slightly rotate the body (hips and shoulders)
shaking palm movements to form a two-part back to the right keeping the palms in the same
exercise. Park says that the function of this position as in photo 2-9. Then begin to turn the
exercise is to "wake up the tan t'ien." Therefore, hips and shoulders back to the left and start to
the mental focus while executing this exercise turn the palms to face the left side of your body as
should be on the deep tan t'ien breathing and the it is now positioned (they will be facing to the rear
movement of energy from the tan t'ien to the of your original starting position). Begin to exhale
palms. Park says that the breathing, posture, as the body and palms turn to strike. Continue
movement, and the mind should all be coordinated with this motion and execute the double palm
in order to help open up the tan t'ien and prepare strike. See photo 2-10 and 2-11.
the body's energy for the remaining exercises. 6) Execute a fan chang with the right palm coming
Additionally, this exercise helps loosen up the underneath the left. As the palms change turn the
hips and shoulders. This exercise is executed as body 180 degrees to the other side. The feet both
follows: pivot 90 degree in this turn. With this motion
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189
begin to inhale. See photos 2-12 through 2-14. front of the body are two of the major ch'i pathways.
7) Execute a "sliding shutter" palm strike on this By loosening the spine and encouraging the ch 'i to
side in a slow and smooth manner. See photos move through the wave like motions of this exercise,
2-15 and 2-16. the practitioner's energy flow along the spine and out
You have now completed the second part of to the palms is enhanced.
this exercise and are ready to begin the next This exercise also aids the function and energy of
repetition. The next repetition begins again with the kidneys and the liver. The articulation of the lower
the shaking palm sequence. From the position back during the dragon back movement, allowing
shown in photo 2-16, you simply execute a fan both the front and back of the lower torso to "open and
chang with the left palm coming underneath the close," allows the kidneys and liver to be massaged
right arm and turn your body back to face the and manipulated as they move inside the body. The
front as shown in photo 2-2. From this position ligamental attachments which hold these organs in
you are ready to start again. place are also stretched and this flexibility and motion
insures that the fluids which are stored and transported
by these organs does not become stagnant.
Double Palm Change The "double palm change" exercise is executed
The "double palm change" exercise is executed as follows:
in three parts. The first part is performed exactly 1) From the position shown in photo 2-16, begin
like the dragon back exercise which was presented to inhale and execute a fan chang and turn the
in the last volume of this book. The next two parts body back to face forward in a "horse" stance. The
are performed exactly like the double palm change two palms are held up at eye level with both palms
exercise which was also presented in the last facing upward. See photos 3-1 and 3-2.
volume. 2) Now execute the dragon back maneuver as
While the last exercise worked to "wake up the described in the first volume of this book. In this
tan t'ien" through the deep abdominal breathing, exercise the dragon back motion is executed slowly
slow motions, and mental intention focused on with an emphasis on really stretching out the
the palms, this next exercise works to move the spine as it ripples in the dragon back "wave."
ch'i from the tan t'ien to the palms by allowing the Exhale with the striking phase of the dragon back.
rippling of the spine to help move the ch'i. The See photos 3-3 and 3-4.
meridians which run along the spine and the 3) Execute a fan chang with the left palm coming
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3-1 3-2 3-3 3-4
191
192
4-9 4-10 4-11
193
The twisting motion of the body is what provides and twist is executed. See photo 4-4.
the opportunity for the liver and spleen to move. 5) Now start to exhale and unwind the body.
The exercise is performed as follows: The right hand moves forward with the fingers
1) From the position shown in photo 3-16, allow facing the hip. The left hand starts to move
the hands to come down to the sides with the rearward with the fingers beginning to curl in
palms up. This exercise begins with the feet towards the hip. The weight begins to gradually
parallel in a "horse riding stance." The arms are shift to the right leg. The eyes watch the left palm.
rounded and the hands are held such that the The palms are still facing upward with the
fingers are facing in towards the hips. The palms intention focused on the palms. See photo 4-5.
are facing upwards as if the practitioner is holding 6) Return to the beginning posture with the arms
something in his or her hands. Park Bok Nam rounded, palms facing upwards and the fingers
likes to tell students that throughout this exercise pointing at the hips. See photo 4-6. The exhale
one can imagine that one hand is the sun, the is completed and you are ready to repeat the
other hand is the moon, and the body is the earth. exercise on the other side as shown in photos 4-7
While executing the movements of this exercise through 4-11.
the sun and the moon will always stay on opposite
sides of the earth as they revolve around the earth.
See photo 4-1. Serving Tea Cups
2) From the beginning posture, you will toe in
with the left foot and shift the weight back on The next exercise is one of many variations of
the left leg. The left hand begins to move away the "Serving Tea Cups" exercise. This exercise
from the body towards the front with the fingers serves to loosen the spine, neck, hips, shoulders,
facing forward as the right hand begins to move wrists, and elbows and gently moves the liver,
behind the body with the fingers facing rearward. spleen, heart and lungs. Energetically this exercise
Both palms remain facing upward. The intention helps to give the practitioner an awareness of
is focused on both palms (keeping the tea from spiraling energy in the body and, due to the
spilling out of the cups). The eyes are watching movement of the joints, will facilitate development
the forward moving hand. The inhale begins as of the "nerve ch'i." The exercise is executed as
you start to execute this first movement. See follows:
photo 4-2. 1) This exercise begins with the feet parallel in a
3) The left hand continues moving forward, the "horse riding stance." The arms are rounded and
right hand continues moving rearward. The eyes the hands are held such that the fingers are facing
continue to follow the forward moving hand. in towards the hips. The palms are facing upwards
Both palms are still facing upward and the as if the practitioner is holding something in his
intention is focused on the palms. Continue to or her hands. See photo 5-1.
inhale. See photo 4-3. 2) The left hand turns so that the fingers are facing
4) The left hand continues moving forward, the away from the front of the body and the hand
right hand continues moving rearward. The head moves forward so that the fingers are eye height
turns so that the eyes look at the back palm. This and the palm is facing upward. The right hand
facilitates a maximum twisting of the spine and stays by the hip, but turns so that the fingers are
neck. The hips are twisted as far as possible to facing forward. The left elbow is pointed down,
the right. All of the weight is on the left leg. Both the right elbow pointed straight back. The eyes
palms are still facing upward. The right arm is watch the left hand and the intention is focused
stretched to the rear and the left hand is stretched on the left palm. Begin to inhale. See photo 5-2
forward. This facilitates a shearing action in the 3) The left palm rotates, fingers turning towards
middle torso which helps stretch the ligamental the left, the palm remains facing upwards. The
attachments in the area of the liver and spleen. eyes continue to watch the left hand, the
The inhale is completed as the maximum stretch intention is focused on the left palm as if holding
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something in the hand. See photo 5-3. starts to move forward with the fingers beginning
4) Continue to rotate the fingers as above. As to curl in towards the hip. The weight begins to
the palm rotates, toe-in with the right foot and gradually shift to the left leg. The eyes watch the
begin to shift the body weight to the right. The left palm. The palms are still facing upward with
body begins twisting to the left. The palm comes the intention focused on the palms. See photo 5-9.
up over the head, palm always facing upward. The 10) Return to the beginning posture with the
eyes continue to watch the palm. This not only arms rounded, palms facing upwards and the
helps focus the intention on the palm, but works fingers pointing at the hips. The exhale is
to stretch the neck. Continue inhaling. See photo
completed. See photo 5-10.
5-4.
11) The left hand turns so that the fingers point
5) Continue to rotate the palm in the same
direction as above. The body continues twisting away from the front of the body and the hand
to the left. The palm has now rotated through moves forward so that the fingers are eye height
450 degrees (360 + 90). The palm has continually and the palm is facing upward. The right hand
remained facing upwards. The eyes have stays by the hip, but turns so that the fingers are
continually watched the left hand and thus the facing forward. The left elbow is pointed down,
neck is rotating through its range of motion. The the right elbow pointed straight back. The eyes
elbow, shoulder, and wrist are now being stretched watch the left hand and the intention is focused
through their full range of movement. Continue on the left palm. Begin to inhale. See photo 5-
inhaling. Postures 2-4 and 2-5 also help to open 11.
up the lungs to facilitate the full inhale. See photo 12) Bring the right hand forward and execute a
5-5. changing palm maneuver. The right hand comes
6) The left hand continues turning until the up along the forward of the left hand with the
fingers are facing to the rear. The left hand moves palm facing upward. See photo 5-12.
down under the left armpit as it begins to move 13) The right palm extends upwards to eye
backward. The eyes continue to watch the left height. The eyes begin to watch the right palm
hand. Continue inhaling. See photo 5-6. and you begin to execute the same movements
7) The left hand continues to move towards the on the right side. See photos 5-13 through 5-23.
rear and the right hand begins to move forward.
The eyes continue to watch the left hand. Both
palms continually face upwards as if holding tea Serving Tea Cups
cups. See photo 5-7. with Throwing Palm
8) The left hand continues moving towards the
rear while the right hand moves forwards The The "serving tea cups with throwing palm"
left arm stretches back and the right arm stretches
exercise is performed exactly like the previous
forward as in the "Unicorn Turns its Body" exercise
exercise, however, a throwing palm is added to the
shown previously. All of the weight is on the right
leg and the body is twisted to the maximum. The end of the exercise on each side. The throwing
eyes still look at the left hand to facilitate the palm is performed exactly as it was described in
maximum twist of the neck and spine. The the palm training chapter of this book. As in the
twisting of the body helps to loosen the throwing palm exercise described in the palm
ligamental attachments in the liver and spleen training chapter, the purpose of this exercise is to
region and thus energy naturally flows to these bring ch'i and blood to the hands with the
organs. The practitioner reaches the full extent whipping action of the relaxed arm. The throwing
of the inhale when executing this posture. See palm portion of this exercise is the only part of this
photo 5-8. entire set which is performed at a fast pace. The
9) The practitioner now starts to exhale and exercise is performed as follows:
unwind the body. The right hand moves rearward
with the fingers facing the hip. The left hand 1) This exercise begins directly from the last
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execution of the previous exercise. The first several ligamental attachments in the liver and spleen
moves are a repetition of the serving tea cup exercise. region and thus energy naturally flows to these
See photo 6-1. 2) The left palm rotates, fingers turning organs. You reach the full extent of the inhale
towards the left, the palm remains facing upwards. when executing this posture. See photo 6-7.
The eyes continue to watch the left hand, the intention 9) Now start to exhale and unwind the body.
focused on the left palm as if holding something in the The right hand moves rearward with the fingers
hand. See photo 6-2. facing the hip. The left hand starts to move
4) Continue to rotate the fingers as above. As forward with the fingers beginning to curl in
the palm rotates, toe-in with the right foot and towards the hip. The weight begins to gradually
begin to shift the body weight to the right. The shift to the left leg. The eyes watch the left palm.
body begins twisting to the left. The palm comes The palms are still facing upward with the
up over the head, palm always facing upward. The intention focused on the palms. See photo 6-8.
eyes continue to watch the palm. This not only 10) Return to the beginning posture with the
helps focus the intention on the palm, but works arms rounded, palms facing upwards and the
to stretch the neck, open the chest and stretch fingers pointing at the hips. The exhale is
the lower back. Continue inhaling. See photo 6- completed. See photo 6-9.
3. 11) The left hand turns so that the fingers point
5) Continue to rotate the palm in the same away from the front of the body and the hand
direction as above. The body continues twisting moves forward so that the fingers are eye height
to the left. The palm has now rotated through and the palm is facing upward. The right hand
450 degrees (360 + 90). The palm has continually stays by the hip, but turns so that the fingers are
remained facing upwards. The eyes have facing forward. The left elbow is pointed down,
continually watched the left hand and thus the the right elbow pointed straight back. The eyes
neck is rotating through its range of motion. The watch the left hand and the intention is focused
on the left palm. The left palm lifts straight up
elbow, shoulder, and wrist are now being stretched
with the palm facing upward. Begin to inhale.
through their full range of movement. Continue
See photo 6-10.
inhaling. Postures 6-3 and 6-4 also help to open
12) Now twist the torso to the left and allow this
up the lungs to facilitate the full inhale. See photo
motion to rotate the left palm to the downward
6-4.
facing position. Relax the area around the left
6) The left hand continues turning until the
rib cage and allow these muscles to expand with
fingers are facing to the rear. The left hand moves
the lifting of the arm. Twist the hips as far as you
down under the left armpit as it begins to move comfortably can. Inhale as the hand is raised.
backward. The eyes continue to watch the left Allow the right hand to fall back down by the
hand. Continue inhaling. See photo 6-5. ribs with the palm facing up. Ensure that the
7) The left hand continues to move towards the shoulder remains relaxed. If you would like to
rear and the right hand begins to move forward. facilitate a greater stretch in the area of the ribs,
The eyes continue to watch the left hand. Both you can twist your right hand until the thumb is
palms continually face upwards as if holding tea facing downward. See photo 6-12.
cups. See photo 6-6. 13) While maintaining a completely relaxed
8) The left hand continues moving towards the shoulder, arm, and hand, twist the torso back to
rear while the right hand moves forwards The the left while bending straight over from the waist.
left arm stretches back and the right arm stretches Audibly exhale through the nose with this motion
forward as in the "Unicorn Turns its Body" exercise as you did in the throwing palm exercise described
shown previously. All of the weight is on the right in the palm training chapter of this volume.
leg and the body is twisted to the maximum. The Allow the hand to be thrown between your legs
eyes still look at the left hand to facilitate with the bending of the waist and twisting of
the maximum twist of the neck and spine. the body. Allow the wrist to be very loose and
The twisting of the body helps to loosen the snap at the last moment as if you are trying to flick
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7-9 7-10
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8) As the palms pass one another at about the relaxed. See photo 8-6.
upper chest region, the left palm turns over as the 5) After you have completely inhaled in the last
right palm continues down in an arcing motion position, begin to exhale and turn the palms to
along the centerline of the body. See photo 7-8. face you as your arms move out away from your
9) After the palms reach the position where they body at about shoulder height. See photo 8-7.
are facing one another with the right palm at the 6) Just before the arms reach their full extension,
level of the navel and the left palm at the level of exhale crisply and audibly and round the entire
the neck, high and low "holding ball" position, back by quickly projecting the shoulders forward
begin to execute the exercise on the other side. while tucking the pelvis under and projecting the
See photo 7-9 and 7-10. small and middle parts of the back rearward. See
photo 8-8.
Begin the next repetition by inhaling and
lowering the body as shown in photo 8-2.
Scooping the Moon From the Sea
Bottom
Closing
The eighth exercise, "scooping the moon from
the sea bottom," shares its name with an exercise All ch'i kung exercise should include a closing
we presented in the last volume of this book. The sequence which settles the body's energy back to
difference here is that the "scooping" is the tan t'ien, calms the mind, and relaxes the body.
performed with two hands to the front instead of The following closing sequence is one that is used
one hand to the side. The exercise is designed to for all of the ch'i kung exercises in Park's system of
manipulate the lungs and kidneys and work the Pa Kua, including the ch'i kung circle walking
spine in the forward bowing direction. The practice. It is performed as follows:
exercise is performed as follows: 1) After finishing the final exercise as described
1) From the last position of the previous exercise above, stand straight up and allow the hands to
(shown in photo 7-10), begin to inhale, bend over fall down by the sides. See photo C-l.
at the hips and bring both hands to an embracing 2) Begin to inhale and bring both hands up the
position in front of the body. See photos 8-1 and center line of the body with the palms facing
8-2. The full extent of the inhale should be upward. When the hands reach about shoulder
reached when you get to the position shown in height, the palms should still be facing upward.
photo 8-2. The palms should also be held so that the pinky
2) As the body bends down farther, begin to fingers are about 4 or 5 inches from the chest. Do
exhale and bring both hands down near the not hold the hands close to the chest. In this
ground as if scooping under a big ball. The arms position you may feel a stretching in the forearms
remain in a rounded position. See photo 8-3. and wrist as you maintain the palm up position.
3) Now begin to inhale and bring the arms It is important that you maintain this palm up
straight up along the body as if lifting something. position all the way up to the posture shown in
The palms remain facing upward and the hands photo C-4 as this allows the ribs to open and the
are just a few inches from the chest as they raise lungs to expand completely with the inhale. See
upward. See photos 8-4 and 8-5. photos C-2 through C-4.
4) Continue bringing the palms up until they 3) When the palms have reached the position
reach a point at about shoulder level. The palms shown in photo C-4, begin to exhale and rotate
are still facing upward. In this position you will the palms outward while still keeping them facing
probably feel stretching in the twisting of your upward. See photos C-5 through C-7.
wrists to keep the palms facing directly upward. It 4) Continue exhaling as you move the palms
is important that you bring the hands up this high straight out to the sides of the body by extending
in order to facilitate a full breath into the lungs. the arms. See photos C-8 and C-9.
While executing this motion, keep the shoulders When you reach the posture depicted in photo
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C-9 you should reach the end of the exhale. Relax you are holding this posture insure the shoulders
the shoulders and begin to breath naturally. Hold remain relaxed and the mind is focused on the
this posture for a slow count of 30. Insure that the palms. See photo C-14.
palms remain facing upward. Concentrate on the 7) Slowly begin to drop the hands down the
palms while holding this posture. centerline of the body with the palms facing
5) After holding the posture shown in photo C-9 downward until the hands are once again relaxed
for a count of 30, begin to inhale and slowly bring by the sides. As the hands slowly move down the
the arms up over the head so that the palms face front of the body bring your focus to the tan t'ien
each other. Allow the arms to rise until the palms and sink the energy in your body downwards. See
reach about shoulder width. See photos C-10 photos C-15 through C-20.
through C-13. When you reach the position shown in photo
6) After you reach the posture shown in C-13, C-20, close your eyes if they are not already closed
exhale and allow the shoulders to completely and allow your entire body to relax and imagine
relax while you continue to hold your hands up that your hands are heavy and all of your joints
over your head. Begin to breath naturally and are enlongating as they relax. Focus your attention
hold this posture for a slow count of 30. While on your palms and become aware of what you are
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Chapter 8
Conclusion
We hope that you have enjoyed this book and created the first section of a new form.
that you have learned something about the art of In studying and practicing the art of Pa Kua
Pa Kua Chang by reading this book and practicing Chang, you should eventually be able to
the material. Taking the building blocks we have spontaneously perform the movements in the
presented here and in the first volume of this execution of both forms and fighting applications.
book, you now have enough Pa Kua Chang material You should try to eventually free yourself from
to build many various forms and applications on choreographed form sequences and be able to
your own. Afteryou have practice the solo exercises express your art in the moment. You should be
for a sufficient amount of time and begin to able to begin practicing a "form" and
combine them with the circle walking footwork improvisationally express an entire sequence
and single palm change variations, we think that without having a preconceived notion in mind.
you will be surprised at the natural movements When you reach this point in your practice, you
which come out of your body without you having can really begin to research the art and reach deep
to think about them. When you can do this, then levels of understanding in the practice for both
you are really beginning to understand Pa Kua health maintenance and fighting.
Chang! Enjoy your practice! If you have any questions
Although the components taught in this book pertaining to the material in this book, please feel
may seem quite simple, the material which is free to call High View Publications at (408)
presented in this book can really lead you into 622-0789. If you would like to seek instruction
some very complex and interesting Pa Kua Chang with Park Bok Nam at one of his schools, please
movements. Be creative in your combinations of call (804) 794-8384.
the fundamentals which are presented here. Begin
walking the circle, k'ou pu to change directions
and then execute a low "scooping moon from sea
bottom" flowing right into "hiding flower under
leaf," unwind from there and move directly into
the "swallow penetrates through the forest,"
execute a k'ou pu and then move smoothly into
the "sliding the window shutter to look at the
moon" palm. From there you can throw and
shaking palm while executing and jump step
forward, turn back towards the center of the circle
and walk in the other direction. You've just
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